Vol 11, No 4 (2025)

INTRODUCTION. Through the prism of tradition of “author’s notes”, and methodological approaches to poetonymy, the research attempts to understand the problems of proper name functions in the author’s comments of 18th and 19th-century Russian writers on their literary works. The aim of the study is to formulate the immediate tasks of poetonymology in the further study of the issue of the onymy in author’s notes and to shed light on the understanding of self-commentary in the writing experience of G.R. Derzhavin.

MATERIALS AND METHODS. The traditional descriptive method was used, incorporating elements of factual material analysis and interpretation, observation techniques, comparison and generalization, as well as functional and contextual analyzes.

RESULTS AND DISCUSSION. Possible options for analyzing the type of note to one’s own texts are considered, as well as techniques for using them in writing practice. It is proposed to recognize authorial comments as a traditional technique in a certain period of the development of Russian artistic literature for conveying to the reader, on the one hand, the meaning presented in the text, and on the other (according to A.D. Kantemir), the personal intentions of the author of a literary work. The issue of the role of illustrative material in lifetime (under the author’s “supervision”) editions of G.R. Derzhavin’s works is addressed. Special attention is given to the author’s comments to the “Ode to Felica”.

CONCLUSION It is noted that it is necessary to strictly distinguish between writers’ notes and editors’ comments in publications, avoiding their mixing during analysis, especially in cases where the authors’ notes ultimately either survived only in manuscripts and preparatory materials, or were only reconstructed by textologists based on indirect indications from poets and writers who had already passed away. The prospects for using the obtained results in the practice of writer’s onymography are outlined.

INTRODUCTION. Currently, linguistic regional studies cover a wide range of relevant issues, including the comprehensive study and description of regional onomastic systems. An important aspect for studying the specifics of the regional onomastic space is the layer of regionally marked onomastic vocabulary – onyms that reflect a connection to the region. The aim of the study is to justify the need to identify regional onomastic markers for studying the specifics of the regional onomastic space and the onomastic picture of the world; to describe the main types of regional onomastic markers based on the material of the Voronezh onomasticon.

MATERIALS AND METHODS. Regional onomastic markers are studied within the context of the linguo-regional studies subparadigm. The methods used are those of comparative-historical analysis and linguistic regional studies of onomastic units; the main method is descriptive. The research material consists of units from the Voronezh onomasticon.

RESULTS AND DISCUSSION. The concept of “regional onomastic markers” is characterized, and types of regional onomastic markers are identified and described.

CONCLUSION. Based on the areal, historical-cultural, geographical, linguo-cultural, ethnoand anthropocentric principles, as well as the principle of dialectal specification of regional onomastic units, types of regional onomastic markers have been identified, the analysis of which is necessary for a more complete study of the linguistic worldview.

INTRODUCTION. Modern Russian studies, due to its anthropocentric orientation, pays great attention to the study of various types of linguistic personality, among which the elite linguistic personality of a scientist stands out. The scientist’s epistolary, and epistolary communication in general, which vividly reveals the author’s personal and individual character, opens up broad prospects for studying the personalities of Russian science, especially the humanities. The aim of the study is to consider the epistolary communication of philologists as an indirect creative dialogue of its participants and, based on the epistolary, to identify the features of the scientist as an elite linguistic personality.

MATERIALS AND METHODS. The research material consisted of Professor E.P. Baryshnikov’s letters to his student and colleague N.M. Valeev, and N.M. Valeev’s detailed comments on each of the teacher’s letters, which creates the feeling of a full-fledged dialogue, a kind of epistolary binomial, with exhaustive depth revealing the linguistic personality of an outstanding scientist, talented teacher, wise mentor. The research used general scientific methods (observation, comparison, description); special philological methods (contextual, genre, semantic analysis).

RESULTS AND DISCUSSION. The features of the epistolary of E.P. Baryshnikov as an outstanding linguistic personality are considered. It is proved that the addressee perfectly mastered the genre of friendly writing, which became a means of intellectual, spiritual, and emotional communication. Special attention is paid to the pedagogical aspect of epistolary dialogue, which characterizes the pedagogical gift of E.P. Baryshnikov, who managed to raise a grateful student and heir to his creative and pedagogical ideas.

CONCLUSION. The letters of E.P. Baryshnikov, which are deep in content and perfect in form, testify to the high philological culture of the addressee, who possesses his own idiosyncrasy and a system of expressive linguistic means for its textual realization. The name of E.P. Baryshnikov is a precedent not only for the personosphere of the universities where he worked, but also for the personosphere of Russian philological science as a whole. The obtained results open up prospects for a comprehensive study of epistolary communication of scientists.

INTRODUCTION. Cause-and-effect relationships (CER) are primarily examined in philosophy, logic, and linguistics. Studying CER at the current stage of language science development is relevant in the context of mental and linguistic structures interaction. The aim of this study is to propose CER modeling from a cognitive perspective, to describe conceptual structures and their representation in language.

MATERIALS AND METHODS. The research material was acquired from literary works in English, the British National Corpus, and online services with access to dictionaries. The study employed cognitive modeling and conceptual-representative analysis.

RESULTS AND DISCUSSION. Interpretation of CER is a basic human cognitive activity. Constructing linguistic means that convey CER and relate to events comprehension, the speaker operates with propositional structures. Having this in mind and using the speaker’s comprehension of two events as a constraint, we identified four main models. The models reflect the order of CER development: from cause to effect, from effect to cause, and reciprocal order. Their representation in language includes complex and compound sentences of various nature, sentences with absolute, causative, subjective-predicative constructions, and supra-phrasal units.

CONCLUSION. The possibilities of propositional CRE modeling are open due to the number of events reflecting CER, their perception as a chain of causes and effects.

INTRODUCTION. M.A. Voloshin’s work contains a unique depth and breadth of historiosophical reflection on the catastrophe of the first quarter of the 20th century – the Revolution of 1917 and the subsequent Civil War of 1917–1922. The purpose of the study is to analyze M.A. Voloshin’s historiosophical discourse on Russia, its distinctive features in the historical and metahistorical contexts of the tragic events of the first quarter of the 20th century.

MATERIALS AND METHODS. The main research material is the poetic work of M.A. Voloshin (1917–1924), rough diary sketches, as well as journalistic articles, primarily “The Russian Abyss” (1919) and “Russia Crucified” (1920). In the course of the research, we used comparative historical and cultural historical analysis methods.

RESULTS AND DISCUSSION. M.A. Voloshin, using the dual optics of perception of reality (the biblical and ancient paradigms), offers the reader a complex and multilevel model of interpretation of what is happening. The poet’s understanding of revolution and internecine war is carried out through the use of biblical (Messianism, redemption, apocalypse) and ancient (symbolism, antinomianism) concepts, as well as through references to historical realities of the past.

CONCLUSION. The historiosophical system of M.A. Voloshin’s views, reflected in the poet’s work, is a unique phenomenon in the history of Russian thought. Turning to various contexts (history/meta-history), using complex concepts, the poet offers the reader his own vision of the causes of the Revolution of 1917, the Civil War of 1917–1922 and their consequences, invariably comprehending the processes of subspecie aeternitatis.

INTRODUCTION. An episode from Ivan Elagin’s poem “Pamyat” (“Memory”), s examined, describing his meeting with Daniil Kharms, during which the latter equated the poetry of Alexander Blok and Vasily Lebedev-Kumach as “two sides of the same coin”. This gesture is considered not as a particular aesthetic incident but as a key moment of the collision of two cultural paradigms: tragic, mythologizing Romanticism and sober, anti-heroic Modernism.

MATERIALS AND METHODS. The empirical basis of the study consisted of Elagin’s poetic text, Kharms’s poem “Pochemu” (“Why”) in two versions (canonical and Elagin’s), texts by Blok and Lebedev-Kumach, including their translations of Horace’s odes, as well as the cultural context of the film “Vesyolye rebyata” (“Jolly Fellows”, 1934). The application of intertextual, comparative, and rhetorical analysis made it possible to identify the common features of Blok’s and Lebedev-Kumach’s poetics.

RESULTS AND DISCUSSION. The conducted analysis led to the following results: a) Kharms criticized not specific poets but the principle of “priesthood” in art common to both; b) Lebedev-Kumach acts not as an antithesis but as an heir to the Symbolist model, using its rhetorical strategies for the tasks of Socialist Realism; c) the common ground for Blok and LebedevKumach was their translation strategy, which transformed Horace’s irony into pathos-filled prophecy or didactics; d) G. Alexandrov’s film represents an intermedial experiment that counteracts avant-garde intermediality and places romance lyricism and satire within a single context of complex intermediality.

CONCLUSION. Kharms’s remark represents an accurate diagnosis of the cultural situation of the 1930s, when the priestly pathos of Symbolism became a part of the intermediality of the “grand style”. In the conversation with Elagin, Kharms’s poem turns into a manifesto proposing a paradigm shift from poetry-as-myth to poetry-as-gesture, exposing the absurd mechanics of the world.

INTRODUCTION. The study analyzes religious motives in the poetry of B.S. Okudzhava as one of the founders of the genre of author’s song and an exponent of the moral and philosophical search of man in the second half of the 20th century in the context of Soviet atheism. The purpose of the study is to identify the specifics of religious worldview in the works of B.S. Okudzhava.

MATERIALS AND METHODS. The research material includes songs and poetry by B.S. Okudzhava, memoirs and interviews by the author. The methods of comparative historical analysis, hermeneutics and cultural-historical approach are used.

RESULTS AND DISCUSSION. As a result, numerous biblical allusions, motives of prayer, repentance, afterlife and Christian love were revealed. The evolution of the author’s spiritual worldview is traced – from skeptical denial of religion to an inner desire for faith and forgiveness. It is noted that religious symbolism in Okudzhava’s poetry is a form of humanistic self-determination of personality in the conditions of Soviet secular culture.

CONCLUSION. The importance of religious discourse as the basis of the moral and philosophical content of Okudzhava’s work and as an artistic way of preserving spiritual values in the era of ideological pressure is determined. The results of the study are applicable in the further analysis of Russian literature from the religious side and in the educational practice of the humanities.

INTRODUCTION. The axiological function is the most important aspect of the activity of literary journals. It manifests itself in the ability of publications to form a certain value system and convey cultural norms and aesthetic ideals to readers. The purpose of the study is to determine the specifics of the implementation of the axiological function of journalism using the example of the magazine “Don” as an important tool for the formation of value orientations in the modern sociocultural space.

MATERIALS AND METHODS. The literary and artistic magazine “Don” is analyzed. The research period is the issues of the journal published from 1960 to 1980. The main research methods are system analysis, classification, and cultural and historical analysis.

RESULTS AND DISCUSSION. It is revealed that in the 1960s and 1980s, the publication played an important role in the formation of stable value orientations of society. In those years, the Don became an important tool for cultural and ideological education. It is determined that the materials of the first half of the issue largely implement the axiological function. In this part of the magazine’s issue, the values that were important to society and characteristic of the USSR's state policy were broadcast.

CONCLUSION. The conclusions obtained in the course of this study can be used to further study the implementation of the axiological function in literary journals, both at the present stage and in the historical perspective.

INTRODUCTION. Intervisuality as a strategy for creating and transmitting meanings in modern advertising discourse has been investigated. The genesis of the concept, which emerged as a development of intertextuality theory in the context of the “visual turn”, is considered. Intervisuality is defined as a strategic creative technique based on the inclusion of recognizable visual elements in advertising that refer to art precedents. The aim of the study is a comprehensive analysis of intervisuality as a strategy for constructing meanings and emotional connections with the audience in the context of an oversaturated visual media space.

MATERIALS AND METHODS. The research material consisted of a corpus of 105 visual texts from modern advertising, selected based on the presence of intervisual references. The methodological basis includes semiotic, intertextual, discourse analysis, comparative, and cultural-historical methods, which ensured a comprehensive study of the strategy based on intervisuality.

RESULTS AND DISCUSSION. The main types of visual precedent phenomena used in advertising have been identified and systematized: precedent names, texts, situations, and artistic techniques (surrealism, pop art, cubism, etc.). The functions of intervisuality are demonstrated: attracting attention, meaning-making, forming brand identity, and targeted impact on the audience. Particular attention is paid to the risks associated with ethical violations, the desecration of cultural heritage, and the possibility of misinterpretation. Examples of advertising campaigns demonstrate both successful and controversial applications of intervisuality.

CONCLUSIONS. Intervisuality has been found to be an effective tool for creating multidimensional messages, but its success depends on the appropriateness of choosing a visual pretext and the literacy of its integration into an advertising message.

INTRODUCTION. Based on the works of the 19th-century Russian school of folkloristics (V.V. Radlova, P.N. Rybnikova, A.F. Hilferding and others) and 20th century research (B.N. Putilov), the interaction of the epic text narrator (zhyrshy) is examined within the context of the variability of the oral Kazakh tradition. The aim of the study is to identify and analyze the specific features of the interaction between the storyteller and the epic text in the context of performance variability, and to trace the evolution of scientific approaches to this problem in Kazakh epic studies.

MATERIALS AND METHODS. The research material consisted of theoretical and practical studies in the field of Kazakh epic studies. To identify the variability of epic texts, a comparative historical method was used, which makes it possible to identify the conditions for the variability of the object under study and a descriptive method represented by the techniques of analysis and comparison. The methodology includes analysis of scientific literature and comparison of Russian and Kazakh experience.

RESULTS AND DISCUSSION. A comparative study of the variability of the epic performance by zyrshy in the traditional aspect and in creative performance helps to reveal the storyteller's attitude towards the world and humanity, and helps to reflect national cultural and historical realities.

CONCLUSION. Prospects for further scientific research should be directed towards the study of the mechanisms of variability in the epic performance of the narrative within traditional national culture as a unique mental space.

INTRODUCTION. Boris A. Uspensky, an outstanding Russian semiotist and one of the key founders of the Tartu-Moscow Semiotic School, has been attracting more and more attention in the Chinese academic community in recent years. The process of perception and dissemination of his academic ideas, as well as their creative application and development in the Chinese scientific context, deserve to be studied.

MATERIALS AND METHODS. A set of complementary approaches has been applied, including a historical and chronological analysis of the evolution of the reception of B.A. Uspensky’s ideas in China from the 1980s to the present and a comparative analysis of his concepts conducted both at the domestic and intercultural levels.

RESULTS AND DISCUSSION. The study of B.A. Uspensky’s ideas has gone a long way – from familiarization to interpretation and, finally, to creative adaptation. The spread of his thought in China was made possible by the methodological innovation of her poetics of composition and the national spirit embodied in it. Based on this, along with the analysis of existing works, the little-studied concept of “framework” in the poetics of composition is analyzed, and a new point of view is proposed through the dialogue of Russian and Chinese poetics – “emotional”.

CONCLUSION. The academic concepts of B.A. Uspensky differ in both theoretical depth and practical value, which indicates their substantial versatility. The research and innovative development of his academic thought contributes to the Russian-Chinese academic dialogue and stimulates the development of humanities and social sciences in China.

INTRODUCTION. Etude-painting op. Sergei Rachmaninov’s 39 No. 5 in E-flat minor was the composer’s last composition completed in Russia before emigrating. The principles of modernity (ornamentation, the cult of refined beauty, the intrinsic value of texture) are embedded in the musical fabric of this work and symbolism (the multiplicity of figurative content, the idea of art synthesis, and understatement), the more important it is to turn to a comprehensive analysis of the Art Nouveau style and the aesthetics of symbolism in Rachmaninov’s piano work. The purpose of the study is to prove the hypothesis of a deep connection between the musical language of the Sketch and the painting op. 39 No. 5 with the artistic principles of Art Nouveau and symbolism, which confirms the synthetic nature of the composer’s style.

METHODS AND METHODOLOGY. A set of musicological methods has been used: a holistic musical and theoretical analysis, a historical and cultural approach, and a comparative stylistic analysis to identify the specifics of the implementation of stylistic features of the era.

RESULTS AND DISCUSSION. The specific elements of the musical fabric of the sketch are analyzed and systematized, revealing the features of Art Nouveau (ornamentation of texture, intrinsic value of sound matter) and symbolism (multidimensional figurative content, harmonic variability). It is established that the dramaturgy of the play, built on contrast and the absence of positive resolution, reflects the key worldviews of the era – tragic premonition and existential crisis. The methodological approach formed and the conclusions obtained can be applied in further musicological studies of the work of Rachmaninov and his contemporaries, as well as in pedagogical practice in the study of Russian music at the turn of the 19–20 centuries.

CONCLUSION. Etude-painting op. 39 No. 5 is an organic synthesis of the late romantic tradition and new stylistic trends, where the principles of Art Nouveau and symbolism become decisive for the composer’s artistic expression in a crucial historical period, organically translating the philosophical depth and complex imaginative sphere of his time.

INTRODUCTION. Nowadays, fairy tales remain surprisingly relevant, despite the age of digitalization and the overabundance of modern entertainment. Eternal values in a dynamic world determine the genetic code of culture. Because of this, the study of fairy tales inspires not only scientists, writers, but also cinematographers, composers, and artists. The structure of the narrative of the fairy tale makes it possible to reveal the inner qualities of the character using the ideas of V.J. Propp and A.J. Greimas. Propp’s concept makes it possible to draw up a seven-person scheme, and Propp’s methodology makes it possible to create a seven-character scheme. Greimasa makes additions to this model using linguistic analysis and introduces the concepts of the actor and the actor model. Thus, the purpose of the study is to compare the “verbalization of expressions” of the characters in P.P. Bazhov’s fairy tale “The Malachite Box” of the Mistress of the Copper Mountain and the folk tale “The Stone Bowl” of the mountain mistress, using philological analysis based on the concept of V.J. Propp and the methodology of A.J. Greimas. Thus, the results of this research can be used in teaching Russian, in philology, in the analysis of the philological text, in fairy-tale therapy (in psychology).

MATERIALS AND METHODS. The research material was the author’s fairy tale by P.P. Bazhov “The Malachite Casket” and the folk tale of the Urals “The Stone Bowl”. The method of comparison using philological analysis is applied, based on the concept of V.J. Propp of functional characters and the method of the actant model of A.J. Greimas.

RESULTS AND DISCUSSION. Using philological analysis, the characteristics of the characters of the author’s and folk tales were determined, and the comparison method made it possible to identify the similarities and differences between the actors. Seven-character schemes according to V. Propp or the actant model according to A.J. Greimas are compiled. This type of analysis helps philologists to delve into the ethnic peculiarity of the Ural people.

CONCLUSION. The complementary methods of the Russian folklorist and the French structuralist provide a more accurate consideration of the narrative structure not only of fairy tales, but also of practically any text. The results of the research can be applied in lectures on folklore studies and the Russian language.

INTRODUCTION. The relevance of the study is due to the fact that B.A. Lazarevsky’s lists of works have not previously been subjected to comparative analysis; the work was carried out within the framework of such a direction in Russian literary studies as Russian émigré literature. The aim of the study was to identify the specific features of the formation of B.A. Lazarevsky’s lifetime collected works.

MATERIALS AND METHODS. The lifetime lists of works reflecting the order and content of the volumes of B.A. Lazarevsky’s collected works were analyzed, the lists were compared with each other, as well as directly with the volumes of the collection that could be found in the holdings of the Russian State Library. Descriptive and comparative methods were used for the study.

RESULTS AND DISCUSSION. The analysis of the material made it possible to present the cause-and-effect relationships between the beginning and termination of the publication of B.A. Lazarevsky’s collected works. The dating and the number of volumes have been determined. It has been revealed that the publishing house’s lifetime lists of works very loosely and unreasonably included collections of short stories and other works by B.A. Lazarevsky as volumes of collected works. The information varies both between the lists and when compared to the actual books.

CONCLUSION. The conducted research shows that it is possible to talk about B.A. Lazarevsky’s collected works 1) in the classical sense only about those books published by the “Prosveshchenie” publishing house, 2) with reservations and clarifications of bibliographic references about all eight books (if based on the writer’s idea). Lists of works are a means of systematizing creativity, which does not give correct ideas about the collection.