پژوهشنامه زبان و ادبیات روسی
سال دهم شماره 2 (پیاپی 20، 2022)

The article analyses the specifics of the image of the comic for different peoples. It is associated with the view of the world by different ethnic groups. The analysis of the national features of the comic is connected with social issues. In humour, the national character is manifested, reflecting the historical experience of the people. The socio-historical, moral and aesthetic assessment of the people and the life phenomena are preserved in the figurative basis of phraseological units, and traits of the national character are manifested in them. The assessment can be associated with the appearance of a person, with their gestures, with traits of their character and with mental abilities, with objects and phenomena of the surrounding reality, etc. Observations on phraseological units of this group led to the following conclusions1. Most phraseological units coincide in the Russian and the Bulgarian languages at the level of the expressed idea but differ in the figurative basis. 2. The figurative basis of the Bulgarian expressions is almost always very specific. The Russian ones are more generalized. Therefore, the translation of phraseological units of this group requires a word-for-word transfer of the figurative basis in order to better semantise and use them correctly

The communicative-cognitive space of drama is based on dramatic discourse. The work is devoted to the consideration of the potential of dramatic remarks, which are involved in the formation of dramatic discourse as elements of paratext. The variety of remarks, a large list of their functions and tasks in various text situations determine their significant role in the formation of dramatic discourse. This study provides our classification of dramatic remarks. It is based on the communicative tasks of remarks, the degree of their prevalence, and focuses on the values of communication theory, the theory of speech communication. The complexity of the dramatic discourse lies, among other things, in the fact that the consciousness of the recipient (reader) of the play separately “processes” paratextual elements and remarks, realizing the specifics of the genre. This is what helps the reader to appreciate the conventionality and theatricality of the dramatic text in the process of its participation in the discourse of the drama. The discursive potential of the paratextual elements of dramatic discourse is the higher, the more complex the organization of the paratext, the more diverse the palette of its elements.

The article discusses: 1. Individual anthroponyms under appropriate conditions can become ethnonyms, as a rule, having passed the stage of connotonymization. Those were Ivan, German, Fritz, John, John Bul, in jargon - Karapetyan, Mamed, Osman (in Don dialects), Khachik. 2. All the indicated anthroponyms - ethnonyms have morphologically mastered, there is no such uniformity in the graphic characteristics. 3. In the process of ethnonymization, a chronological factor plays a certain role: the last four anthroponyms perform this function in modern jargons. 4. Becoming a nomination of an ethnos, the original anthroponym can expand (John - John Buhl), as well as enter into derivational (Ivan → Ivanov → Ivan Ivanovich, Mamed - Mamedia) relations, as well as be phraseologized (Ivanov - Petrov - Sidorov). 5. Parallel to ethnonominization, stereotypes of perception of one or another nationality are taking shape. 6. The study of the process of ethnonymization in connection with the process of stereotyping is of undoubted scientific interest, primarily in the field of linguoimagology, linguoculturology, ethnopsycholinguistics.

The article analyzes the use of allegorical images in the poetry of M.Y. Lermontov in connection with the theme of the West and the East. It is shown that the poet's appeal to the West, having passed through the stage of deep infatuation, ended in disappointment in the allegory of the poem "The Dying Gladiator". The appeal to the East and the desire to know its spiritual foundations was expressed in a number of allegorical poems of oriental themes. The article suggests the interpretation of the poet's images not in line with the romantic concept of personality, but in a culturosophical and historiosophical way, reveals Lermontov's concept in his cycle "East" – in a kind of Western-Eastern divan of the poet. This reading of poetic parables reveals the depth of Lermontov's historiosophy, his understanding of the tragic complexity in the interaction of the East and the North (in the poem "Dispute"), as well as his understanding of eastern wisdom (in the poem "Three Palm Trees"). As a result, it is shown that the theme of the East, while retaining its spiritual significance for the poet to the end, did not find a final solution in his poems.

The article is devoted to the study of the reception of I. Bunin's work in the collection "Silhouettes of Russian Writers" by Yu. Aikhenval'd. The theoretical principles of Aikhenval'd's critical method and its place in the context of artistic searches of the early twentieth century are comprehended. The system of concentres of Russian literature developed by Aikhenval'd is considered, Bunin's place in it is determined. The article traces the line of succession Pushkin - Bunin; it is shown that traditionalism as the main characteristic of Bunin's style goes back to the harmony of Pushkin's creativity. The key motives of two editions of the feature article "Bunin" are analyzed: restraint and severity of poetic expression, images of nature, village, travel, orientalism. It is suggested that Bunin's high assessment reflects the critic's idea of the poet's mission as a divine "collaborator". It is noted that the spiritual closeness of the writer and critic is reflected in the biographical fact of their exile. It is concluded that in the criticism of Aikhenval'd Bunin appears as a modern bearer of the spiritual categories of Russian literature.

The article considers a layer of literature that has value as a primary source of information about the East, incl. about Persia, which is practically not studied. These are diplomatic documents, the texts of which have so far been considered precisely as documents from a historical point of view in the writings of historians. From the author's point of view, these documents can be considered in the context of the Eastern text of Russian literature. They represent a thematic unity, as they are based on general mythology and image of the East, general material descriptions. The author introduces the concept of embassy discourse to determine the literary function of such texts. The material of the study is the texts of participants in diplomatic missions, which represent a specific description of the East, motivated by the professional interests of the authors. The article analyzes a specific document of the embassy discourse – "Day notes on the journey of the Russian imperial embassy in Persia in 1816 and 1817, conducted by the adviser of this embassy A. E. Sokolov." It is established that special elements of narration were formed in A. E. Sokolov's "Day Notes" to convey the constants of the embassy text: natural descriptions, descriptions of social and cultural space, author's comments, ways of mastering foreign names and words

The article deals with the conceptualization of art in the works of Tolstoy in his publicist writings. The conceptualization is a complex amalgam of ordinary and scholarly consciousness. Tolstoy presents his point of view on the basis of the extensive theoretical and empirical material, theories of love, non-resistance to evil by violence, the meaning of human life, the structure of society. The main means of explication of knowledge include synonymy, antonymy, comparison of related concepts, highlighting the key differential features, and metaphorization. Tolstoy understands art as an activity, a pastime, a spiritual entity. The thinker organically uses rational and emotional tactics of narration. The outcome of Tolstoy's thinking is a classification of art built on the principle of dichotomy: art is divided into true and false, and the true one, in turn, is divided into religious and common (worldly). The conceptualization of art is linked to the identification of its main features: expression of the law of universal love, uniqueness, contagiousness, clarity and simplicity, and its functions: to be a means of communication, to suppress low feelings and develop high ones, to make a person morally strong. The conceptualisation of art has been found to have an explicit vectorial marking, directed towards the future.

The lyrical works of Ya. Polonsky, thematically related to the motives of the morning and evening dawn, are analyzed using a value approach. The works of the early, mature and late periods of the poet's creativity are involved in the study. In the course of comparative consideration of the selected group of texts, semantic and value oppositions structuring the picture of the world depicted by the author are determined. It is established that the motivic complex of the morning and evening dawn acquires value content in the poetic world of the author. The dynamics of the author's value attitudes is determined. In the early lyrics, life values are reduced to romantic unity: "youth–freedom–love–joy–light". A mature poet is looking for spiritual meanings of being. The morning and evening dawn serve to express a sense of disappointment in society (daylight fading) and hope for its liberation from false values (enlightenment). In the poems of late lyricism, the Motives of Dawn and Dusk include the value of the spiritual renewal of humanity in the gospel sense.

The article presents the results of a study of conventional temporal lexical cycles in Russian – names of days of the week cycle and months of the year tightly tied by sequence and recurrence relationships. The lexicographic and psycholinguistic analyses lead to the conclusion that on a par with equivalence based on the ontological properties of the cycles analyzed their language representations share a set of semantic features of the type «Time period», «Order», «Activity», etc., which form in their entirety a cognitive matrix. Its members differ in their significance: relevant for the week cycle is the parameter of «Activity» whereas for the year cycle –«Nature and Weather», «Activity». Selectivity of semantic features actualized in the meanings of individual units determines differentiation of relations in the conventional lexical cycles and salience of some members of the sets (воскресеньеin the week cycle, майin the year cycle, etc.).

The work of Vasily Shukshin is one of the outstanding worksof writers creativity of 60 ties from Twentieth century, which is of great importance in Russian literature and is called the work of the writers «derevenshchiki» (rus villagers). He was born in 1929 in Srostki village at the foot of the Altai Mountains and made his debut at the end of the 50 ties. Already his first works emerged significant literary personality of the writer. Shukshin's work remains relevant in our time and represents bond in international cultures. The article is devoted to religious motives in the works of Shukshin and his contribution to the Russian trend of «derevenshchiki» prose. Shukshin asks questions about the fate of village culture. It’s spiritual wealth and transcendent state of the village people. Many established literary critics in their studies point out the reflection of Christian motives in Shukshin's work. A deep feeling of love for the mother and the folk culture, as well as the whole life of the writer points on his Christian roots. Mercy, sympathy, kindness, the cult of the Mother of God - we see all this in such works as (I want to Live, Strong Man, The Red Snowball Tree, Master, etc.). Analyzing the works of Vasily Shukshin, we can conclude that his work is imbued with religious spirituality. Shukshin's work is recognized all over the world, and most of his works have been translated into numerous languages.

The author of the article focuses on the scientific methods used to obtain and analyze linguistic material in linguistic research, namely the method of linguistic experiment and the quantitative methods used to analyze its data and the method of semantic interpretation. The experiment occupies a leading place in linguistic research as the main way of researching and constructing reality. In psycholinguistics, the experiment involves the joint interaction of the experimenter and the subject, aimed at performing pre-composed experimental tasks and studying possible changes and relationships. The methods of analysis and interpretation of experimental data are based on quantitative measurements, with the help of which the quantitative indicators obtained during the experiment can be generalized and brought into the system, as well as on the construction of models for measuring the object of study through the analysis of semantics. The combination of psycholinguistic, quantitative and general scientific methods is a productive way to solve the problems of the experiment

The article is devoted to the comparison of the images of some trees in the ancient Iranian and Slavic mythological systems. The system of representation of cedar, oak, pine, the symbolism of the world tree and the anthropomorphic qualities of plants are studied. Obviously, the perception of plants as special mythological objects in both Iranian and Slavic cultures has ancient traditions, which are based on intercultural interaction. It is the interpenetration of cultures that contributes to strengthening the connection between peoples, revealing the unique and common features of their worldview. The material of this article shows that there are intersections and coincidences in the perception of the image of a tree in the Russian folk and Iranian traditions. An interesting image of the world tree, which is considered a kind of model of the universe. It is significant to endow plants with human qualities for their inclusion in ritual and mythological rites. It is concluded that work in this direction is necessary and contributes to the strengthening of intercultural interaction.

Modern progressive globalization processes, blurring of borders between countries and an unstable geopolitical climate in the world provoke an increased interest of representatives of different nationalities in each other, which undoubtedly leads to a dialogue of cultures. Language, as a storehouse of knowledge about the people, is able to display national characteristics, the national picture of the world of a particular linguocultural community. Language also tends to form images of some peoples in the linguistic consciousness of others. The creation and display of the image of a foreign people in the minds of another people is carried out at the expense of nationally marked elements of the language. Such elements include precedent phenomena that fix, preserve and display the ethno-national features and characteristics of a particular people. In our study, we will consider and compare the use and functioning of the precedent phenomena of Spanish culture in the novels "Spanish Diary" by M. Koltsov and "For whom the bell tolls" by E. Hemingway during their stay in revolutionary Spain.