Summer Lightning: Folklore and Mythological Image in Russian and Komi-Permyak Cultural Tradition

The article is devoted to the consideration of the linguistic and cultural potential of a literary text in Russian as a foreign language classes. The relevance of this work is due to the need to implement one of the important methodological provisions – the principle of the relationship between language and culture. An artistic text accumulates the cultural memory of the people; therefore, it becomes a source of linguistic and cultural information, which is represented by linguistic units containing culturally significant components. The purpose of the work is to identify the linguistic and didactic potential of a literary text (using the example of a poetic text by Marina Tsvetaeva) for use in the practice of teaching Russian as a foreign language. The article describes the cultural space as a way of reflecting the worldview of the people, reveals the interrelationships of text and culture, identifies and describes the features of an artistic text (imaginativeness, aesthetic function, emotional coloring, the presence of visual and expressive means, ambiguity and interpretability, manifestation of the creative individuality of the author). A literary text is considered as a source of linguistic and cultural information in three aspects: linguistic, cultural, and emotional. As a unit of learning, an artistic text is a complex and structured medium of information that performs a variety of functions: the development of competencies, the improvement of skills and abilities, the formation and development of critical and creative thinking, value attitudes, and support for metacognitive skills formed in the practice of mastering the native language and culture. The methodological development of a lesson in Russian as a foreign language is presented, in which the poetic text of Tsvetaeva is analyzed. During the lesson, students get acquainted with new words, comprehend the deep meanings laid down by the author of the text, identify visual and expressive means that ensure the realization of the emotional and aesthetic functions of the poetic text. Based on the work carried out, it is concluded that literary texts help students immerse themselves in the context of Russian culture and evaluate the cultural heritage of native speakers of the Russian language

The article deals with an actual issue of modern Russian philology - linguistic means representing the functional-semantic field of emotivity in Russian artistic texts. It identifies the specific verbalization of the fields of emotivity, as well as their interactions in the semantic structure of an artistic text. The zones of emotivity actualize emotive-evaluative meanings of a text - complex mental and sensual units in “author-interpreter” dialogical relationships. The principle of reversed perspective of feelings in an artistic text creates emotional empathy that broadens the personality of the interpreter. Emotional expectations of the interpreter are pre-determined by the development of the situation scenario which is considered normative from the point of view of collective linguistic consciousness. When the norm is abused, it produces the “effect of frustrated expectations” that forms the interpreter’s emotions. The novelty of the research lies in the fact that the emotive-evaluative meanings of Russian artistic text are analyzed in their integrity. The complex approach includes determining the representative and reactive qualities of the emotive units of the Russian language that create specific microfields in the structure of the functional-semantic field of emotivity. The emotional sphere is a part of the system of values in the mental world of a Russian language speaker, that is why there exists a variety of means used to express emotional-evaluative meanings, both emotional-affective and emotional-rational ones. Interaction of functional-semantic fields of personality, emotivity, evaluativeness, intensity helps determine the emotive dominant idea of a certain artistic text, find out how the means of expressing emotive-evaluative meanings correlate with the character of authorization of an artisitc text. The research of emotive fragments in the texts of Russian writers of the XIX-XXI centuries singled out typical components of the microfields of emotivity which are specific for the texts with different forms of narration.

The purpose of the article is to identify and establish common and distinctive central features of the concept of Male fidelity based on the material of German and Russian literary texts of the first half of the twentieth century. The object of the study are lexemes representing the value representation of the linguistic and cultural concept of Male fidelity in the Russian and German languages. The subject of the proposed research is the lexical and semantic explication of the conceptual component of the concept of Male fidelity in German and Russian literary texts, the direction of realism in the first half of the twentieth century. The study used such methods as: definitional analysis, component analysis, comparative method, as well as the reception of quantitative calculations. In the work, as a scientific novelty, it is proposed to study for the first time the verbalization of the conceptual component of the concept of Male fidelity on the material of literary texts in a comparative aspect. The analysis allows us to conclude that the conceptual component of the concept can be verbally represented in the form of specific central features of the concept under study. Also, as a result of the conducted research, the presence of one common central feature of the concept of Male fidelity was established, namely: loyalty to the profession. However, there are also distinctive signs. In German art texts – constancy in the chosen style of clothing, and in Russian art texts - devotion to their ideas, constancy in the noble behavior of men, practicality as a manifestation of the constancy of a man's behavior.

The goal of this article consists in carrying out a semantic analysis of the synonyms of nuclear lexemes “Pravda (truth)/ Verite” in the Russian and French literary texts. The subject of this research is the semantics of lexemes representing the concept of “Truth” in the Russian and French languages. Very few works in the modern linguistics are dedicated to comparative study of the concept of “Truth” in the Russian and French literary texts, which defines the relevance of this article. The scientific novelty lies in the fact that the author is first to examine functionality of the synonyms of nuclear lexemes “Pravda (truth) / Verite” in the Russian and French literary texts, as well as to determine the composition of meanings and dynamics of their development in these lexemes. The article employs the comparative and quantitative methods, semantic analysis, and modeling. In both languages the concept of “Pravda (truth) / Verite” implies such notions as: “Honesty”, ”Fairness”, “Sincerity”, ”Reality”, “Veracity”. The conclusion is made that in the Russian and French literary texts, the linguocultural concept of “Truth” is reflected in its primary meaning – "Honesty”. The distinctive feature is the in the Russian texts it is used as “Veracity”, while in the French – as “Fairness”, which emphasizes the specificity of mentality reflected in the linguistic worldview.

Specificity of Chinese Punctuation and its Place in Teaching Russian Punctuation to Foreign Students

The proposed article examines in a comparative aspect on the material of postmodern Chinese and Russian literary texts the representation of the conceptual metaphor of feelings, namely love. The subject of the study is the sources of the conceptual metaphor of love, representing the scope of the goal of the metaphor in the analyzed texts. The aim of the work is to clarify the similarities and differences in the representation of the sources of the studied conceptual metaphor in Chinese and Russian texts. During the study, the following methods were used: the method of semantic analysis, the comparative method, the method of conceptual analysis. Comparative analysis showed the presence of similarities in the representation of the studied metaphor in the areas of the source "Fire", "Disease", "Light", "Reservoir", "Material value". A distinctive feature of the Chinese texts is the representation of the metaphor in the "Plant" area, and the Russian texts – in the "Living Being" area. The practical value of this work is seen in the fact that these materials can be used in classes on the interpretation of artistic texts of the Chinese language in universities. The works of such a plan create a good prospect for the further development of one of the new areas of linguoculturology, namely comparative linguoculturology, within which there is a comparison of heterogeneous unrelated languages. The scientific novelty of this work lies in the fact that for the first time it reveals similarities and differences in the representation of the conceptual metaphor of love using the material of postmodernist fiction in Chinese and Russian. In the course of the work, it was found that in languages of different structures, Chinese and Russian, the presence of more similarities in the representation of the sources of the conceptual metaphor "love" indicates the universality of the formation of this metaphor in the minds of native speakers, which indicates the prospect of developing universalogy in the context of comparative studies of unrelated languages.

Using the concept CUBE as an example, the article examines the problem of sources of formation of the conceptual sphere. The aim of the study is to establish the influence of texts about Cuba on the formation of an appropriate image among native speakers of Russian linguistic culture. Thus, the work was carried out at the intersection of cognitive and corpus linguistics. The scientific novelty lies in obtaining experimentally proven data on the standardization of the concept CUBE in the minds of native speakers of Russian linguoculture, which allows us to assume a high degree of typification of concepts formed on the basis of indirect experience. For a more complete understanding of the functioning of the lexeme "Cube" in Russian-language texts, contexts from different subcorps of the National Corpus of the Russian language are considered: the main (subcorpus "Artistic texts"), newspaper (Central media) and "Social networks". As a result of the analysis of the functioning of the lexeme in "Cube" various contexts, many semantic intersections between Russian-language texts and respondents' reactions, a certain set of stamps, were revealed. However, there is no reason to assert that the image of Cuba among native speakers of Russian linguoculture was formed under the influence of the relevant texts, rather, the coincidences are due to the same knowledge base. Thus, during the experiment, reactions were obtained that were not reflected in the analyzed texts, and, on the contrary, topics were found in the texts that were not represented in any way in the respondents' responses.

The anthropomorphic depiction of animals bearing allegorical meanings is the well-represented and actively demanded bestiary of world literature. It reflects the mythological thinking of writers and is an integral part of the worldview basis on which literary works are based. Bestiary images in the artistic text acquire the status of universal representative symbols. This study discusses bestiary images in novelistic works of Austrian writers, Franz Werfel (1890-1945) and Elias Canetti (1905-1994). Using the semiotic approach, the researchers define a range of images and meanings that are related to these two writers as representatives of the era of historical upheavals and individual authorial purposes that reflect the basis of the worldview of each of them. A bestiary image in a literary text can function as an iconic sign, which, on the one hand, reflects the material object in its materiality, and on the other hand, contributes to the emerging of "new", constructed by analogy, aesthetic reality. The similarity to the referent, in this case, is included in the overall system of ontological values. An iconic sign, after Ch.S. Pierce, refers to a simple sign based on the similarity to a thing and participating in the creation of symptoms of a higher order – symbols. Bestiary images in a literary text acquire the status of universal representative characters. The functioning of animal images in the text, their nomination, combinatorics, communication with the elements, time periods, and behavioural patterns are the way of the study of the philosophical foundations of the author's world picture. Canetti’s bestiary is represented by metaphorical images of a monkey, a cat, a pig, and a tortoise, which are used as a tool for analysing various psychic and psychological states of the characters of the novel "Blinding" (Die Blendung, 1931-1932). Multiple forms of anthropopathy and zoomorphism are based on the writer's attitude towards the initial "equality" of man and animal. The study of zoopoetics (the term of J. Lacan) of Werfel’s novel "Barbara, or Piety" (Barbara oder die Frömigkeit, 1929) helps to reveal the axiological foundation upon which the writer constructs his novels. The functioning of images of animals, a horse, for example, is related to the semantics of sacrifice that is rethought and acquiring new meanings in a new historical context. Composite images connecting different characteristics and associated with various natural elements are important. It is apparent that the study of the works by Werfel and Canetti, given the iconic nature of bestiary images, seems relevant to detect common patterns of development of European literature and culture of the first third of the 20th Century.

SURNAMES OF GEOGRAPHICAL(ELEVATED TERRAIN) ORIGIN Summary The focus of the study is on Latvian personal names, which are coined on the the basis of Latvian apellative lexis. Personal names coined from the lexemes of the respective language, i.e., unborrowed anthroponyms, were chosen for comparison (in the Estonian, Finnish, Lithuanian, Polish, Russian and German language). There are many surnames of geographical origin (530 or 19.6% of all surnames of Latvian origin) in Latvian anthroponymic system and, according to their original meaning, they are very diverse: surnames, the etymon of which (a) indicates elevated or lowered terrain; (b) is connected to water courses and water bodies; (c) other surnames. There are around 180 compound surnames with the second component - kalns ʻ-hill’ and 13 with the second component - kalniņs ʻ-small hill’ in the reverse dictionary of V. Staltmane’s monograph, e.g. Rožkalns (45), Brīvkalns (40), Zaļkalns (37). In most cases these surnames have originated from homestead names or other topo­nyms, but calquing is also possible. There are several examples that show clear parallels between Latvian and Finno-Ugric languages, whereas the respective surname is not re­corded in the modern German language system (e.g., Latv. Apskalns ‘hill of aspen trees’ – Est. Haavamagi (9), Haavamae (11) – Finn. Haapamaki – German *Espenberg ). There are several surnames of geographical origin recorded only in Latvian: Ābelskalns ‘apple-tree hill’ (3), Dzintarkalns ‘amber hill’ (1), etc. This semantic sub-group of geographical etymons is extensively represented in Finn­ish and Estonian surname system. There are many compound surnames, which do not have analogues in the Latvian language, among them – Etelamaki ‘south hill’, Tuisku­vaara ‘blizzard hill’. On the other hand, in German there are compound surnames with the second com­ponent -berg , which does not occur in Latvian, e.g. Brandberg ‘fire hill’, Schneeberg ‘snow hill’, etc. One can conclude that surnames of such semantic origin occur much more rarely in the Lithuanian, Polish and Russian languages, and there are almost no compound sur­names including a lexeme with the meaning ‘hill’. There are clear parallels in the anthro­ponymic systems of Latvian and its closest Finno-Ugric neighbours (Estonian and Finn­ish). The influence of the German language is clearly seen in the structure of Latvian (as well as Estonian) surnames; however, it is not as extensive as it is usually suggested.

The article sets the task of the features of writing a modern literary text. Analyzes in the linguistics of contemporary literary texts are explored in connection with deep linguistic personalities in cultural, social and discovery aspects. In recent years, the number of studies that are associated with paying special attention to the characteristics of male and female languages and their linguocultural representation in works of art has increased, which are considered as priority research in the field of philosophy. However, it is important to choose the meaning of the gender image in a literary text from a cognitive point of view. The main purpose of the article is to show the cognitive nature of the author in the presented literary text, the linguoculturological use of the gender image. Several authors of modern fiction are used as an object. Having recognized the linguoculturological features of a literary text in the gender aspect, it is possible to evaluate the use of complex theoretical material common to language and literature. In addition to being able to use artistic tools in the Kazakh language in writing an artistic text, it is very important to be able to clarify the rules and requirements of language science, the rules of stylistics in creating an artistic text. In journalism, the relevance of the text in society is also considered due to the peculiarities of its writing. Therefore, the functional types of language in the literary text: description, narration, reasoning can be the main ways of composing the text. The linguistic side of the analysis of a literary text is of great practical importance in terms of feeling the aesthetic and poetic power of the word, making the possibility of judgments through understanding. Using the results of new trends and research emerging in modern journalism when analyzing text is very important and a requirement of the time.

The purpose of the article is to analyze and describe new metaphorical models that have become part of the concept DOG in 2020. To achieve this goal, we have used descriptive method and conceptual analysis method. The object of consideration is fragments of texts of journalistic style, Internet resources, etc., which have become a response to socio-political events, where the concept that interests us is somehow affected. The subject under consideration is new metaphorical models of the concept DOG and their lingual embodiment. The result of the study of this problem is to prove that the content of the concept DOG in modern Ukrainian and Russian languages has expanded due to the emergence of new metaphorical models DOG — MONEY and DOG — FREEDOM. The article lists metaphorical models of the concept DOG that can be considered permanent. But the Ukrainian and Russian languages in Ukraine responded equally to two events: 1) a speech on the TV show of People’s Deputy E. Bragar, where he noted that an elite dog can be used as payment for gas; 2) permission to leave the home during the quarantine for the purpose of walking pets, especially dogs. Therefore, we can talk about these new metaphorical models. Findings. The models discussed in the article are mainly traced to the online genres, which include picture, internet meme and ordinary joke. The prototypes that influenced the metaphorical enrichment of the concept DOG are regarded as artistic texts, sayings, cartoons, paintings. During the development of this concept a comic effect is created due to the occasional word-formation, parodying of famous works, persons, semantic compression and certain allogism. The practical value of the article materials can be found during the teaching of the student’s choice, in particular, in the field of sociolinguistics.

A participle is a special form of a verb in which verb grammatical features are conjugated with adjectival ones. This is manifested both at the level of categorical meaning, and at the level of grammatical categories and syntactic functions. The participle is a verb form located on the periphery of the verb system, so verbal grammatical categories often manifest themselves in a flawed form. Due to this hybridity, syncretism, participles are subjected to changes in the process of historical development. This determines the relevance of the study, identifying the reasons for a dynamic development of the participle system, determining current trends in their functioning. In the course of the research methods of observation, description, functional and semantic analysis, quantitative methodology were used to assess the dynamics of functioning of future participlesin the process of historical development. As sources of language material we used Russian writers' works selected from the National Corpus of the Russian Language. On the basis of the research, it was found out that the system of participles underwent significant transformations during the period from the Old Russian language to the modern one. This is manifested in significant grammaticalization processes that led to the restructuring of the verb system and the temporal and collateral verb paradigm. It is revealed that in the modern Russian language participles remain an unstable form, which is manifested in the processes of transformation of verbal grammatical categories in participles, leading to their transition to the system of adjectives. The study of the language material allowed us to establish a wide range of gradual transitions from participles to adjectives. We analyzed the reasons for the activation of future participles in modern publicistic and artistic texts, the dynamics of their functioning from the XIX century to the present, the possibilities of participles in overcoming paradigmatic limitations in the process of functioning in the text.

The ways of transfer into Russian language of Udmurt place names, mainly the names of settlements of the Udmurt Republic and adjacent territories where the Udmurt people live are considered. The relevance of the study is justified by the fact that the language contacts of the Udmurts with the Russians could not but affect the toponymy of the region, and in the official documents the Udmurt names of settlements are recorded in the form adapted by the Russian language. The analysis of the extinct and currently functioning place names allowed the authors to testify that in the process of historical development and interaction of languages, most of the Udmurt geographical names are subject to various modifications. Different types of transformations are identified and studied: transliteration, phonetic, morphological and lexical transformations, reduction (simplification), translation or calking, rethinking, renaming (denomination). It is shown that these changes are not random, but are subject to the general laws of the language. The authors conclude that the main reason for the modification of Udmurt place names in the transmission to the Russian language is the difference in typological features of Slavic and Finno-Ugric languages. There are many examples to prove that in development of foreign names by the Russian language there is a complete or partial transformation of foreign elements of the source language, in addition, their own elements are added.

This article analyses online greetings in the Russian, Polish, Lithuanian and German languages. The author treats greetings as a speech act which helps the addresser to remind the addressee of his/her good attitude towards him/her on the basis of a particular occasion—the addressee’s birthday. The author analyses this speech act in relation to the specific communicative and mental scenarios of the culture to which the speaker belongs. The entirety of standard speech acts and the combination of intentions of the speakers form a genre. The genre of modern online greetings seems contiguous to folklore genres, because most of the texts do not have authors. Moreover, these texts move from one Internet site to another, resulting in a wide circle of “implementers”—users.The author distinguishes some typical characteristics of online greetings among the four cultures. An emphasis on the figure of the speaker and an incantatory character are typical of Russian greeting texts. Happiness, health and eternal youth are the key objects of these Russian texts. Russian greetings are related to the future. German greetings are mainly related to the birthday celebration itself. Greetings are often related to a review of life: on this occasion the addressee is encouraged to reflect on whether s/he has lived the past year appropriately. The word courage (Mut) is constantly repeated in German greetings, whereas this word is absent from the Russian greetings. The figure of the speaker is marginally expressed in Polish greetings. The sweetness of life is present in Polish greetings, whereas it is observed neither in German nor in Russian texts. May all your dreams come true is a cliché element of Polish greeting texts. Lithuanian greetings distinguish themselves by their melancholic tone.The author relates the detected specific features of online greetings to the ideas of philosophers and historians on the unique means of expressing one’s national character.

The article covers the peculiarities of functioning of the word vprochem ‘however’ in the syntactic aspect. The characteristics of this linguistic unit in the linguistic research are analyzed. It is noted that the word vprochem is problematic in terms of identifying its functions as a syntactic unit. The relevance of the work is determined by the lack of description of the word vprochem in the research literature, and linguists’ attention to linguistic units located at the junction of full and functional parts of speech. The novelty of the study is seen in the fact that the characteristic of the most typical uses of the word vprochem is considered in free use (at the beginning and middle of a sentence), in combination with conjunctions, as well as in the various syntactic structures of a simple sentence. The use of the word vprochem in classical and modern publicistic and artistic texts is considered. The quantitative method is used to analyze the use of vprochem in the Russian language in the texts included in the national corpus. The authors comes to the conclusion that the analysis of the word vprochem reveals its rich potential for inclusion in the structure of various syntactic constructions of a simple sentence.