No 4 (2024)

Modern cognitive-discursive linguistics focuses on the study of discursive personality. Interest in the study of the communicative behavior of a linguistic personality is due to the general turn of modern linguistics to the problem of “language and man”; The focus of linguists is on issues of communicative organization and communicative behavior of native speakers of different types of languages. The article examines the relationship between the communicative behavior of the author’s linguistic personality and its discursive conditioning. The initial parameter in the description of a linguistic personality is a speech work, therefore the linguistic personality of the author in the texts he creates and the discourses reflected in them are examined. Current trends in text research indicate a growing interest in not only the internal structure and linguistic characteristics of texts, but also their social and communicative role. This provides the opportunity for a deeper and more comprehensive understanding of textual material as a means of communication and a product of the linguistic activity of a particular person. In this regard, the study of the author’s linguistic personality in the context of textual manifestations within a certain discourse represents a pressing problem in modern linguistics. Discourse analysis allows you to integrate a wide range of factors, including cognitive, psychological and pragmatic, into the study of linguistic personality. A linguistic personality manifests its belonging to a specific ethnic group, professional field, age and gender identity in discursive practices. Discourse serves as a platform for the manifestation of emotional states, which play a significant role in the organization of communicative interaction. The linguistic personality in the texts he projects uses various communicative strategies, which represent a complex of speech actions taken in order to achieve a certain communicative result. Their implementation is carried out through the use of various communication tactics. A person who participates in discourses of various types and displays specific tendencies in his communicative and speech behavior in them is considered polydiscursive. The author of the texts actively participates in the development of various discourses, and through them specific tendencies of his communicative behavior appear, revealing the unique features of his polydiscursive linguistic personality.

The article explores the phenomenon of code-switching and code-mixing be-tween Persian (Afghanistan) and English. Code-switching refers to the phenomenon of switching between two or more languages within a single conversation, while code-mixing involves the blending of languages within a sentence or utterance. The study focuses on two specific communicative settings. One is informal spoken communication, the other is and literature. To conduct the research, the data was collected from a group chat involving 30 students studying English Language and Literature at Balk University’s Faculty of English in Afghanistan. The group was created to discuss academic and non-academic issues informally. The messages ex-changed in this group chat serve as a case study for analyzing informal conversational communication. Additionally, the novels of Khaled Hosseini, an American author of Afghan origin who is fluent in both Persian (Afghanistan) and English, were chosen as examples of literature. Khaled Hosseini has gained international recognition for his writings. His works often explore themes of identity, family, love, loss, and the impact of political turmoil on individuals and society. The paper be-longs to the specialty 5.9.8. Theoretical, applied and comparative linguistics (philo-logical sciences). The main objective of the research is to identify the reasons and purposes behind code-switching and code-mixing in different communicative set-tings. By examining the patterns and contexts in which these language practices oc-cur, the study aims to gain a deeper understanding of the motivations behind them. Overall, this research seeks to shed light on the phenomenon of code-switching and code-mixing between Persian (Afghanistan) and English by analyzing both informal spoken communication and literature, to unravel the reasons and purposes behind these language practices.

The article is devoted to the analysis of the verbalisation of the concept of creativity in the poetry of the outstanding Russian poet of the second half of the twentieth century Y. D. Levitansky. Poems from the poet’s early collections “Leaves are Flying” (1956), “Sides of the World” (1959) and “Earthly Sky” (1963) are considered as the research material. The choice of these poetic texts is due to their insufficient study, as well as the desire to consider in more detail the initial period of Levitansky’s work, important for understanding his work as a whole. In order to achieve the set goal, the study uses the method of solid sampling, observation, semantic-stylistic and contextual analyses. It was established that creativity in the author’s perception appears as a complex process of self-expression, requiring inspiration, diligence and harmony with nature. Y. D. Levitansky describes the analysis of the poet’s inner conflicts, the balance between emotions and reason, as well as the opposition of the author’s individuality and stereotypes in creativity. Emphasis is made on the complex emotions experienced by the poet at the beginning of the creative process. The study reveals the linguistic means representing the concept of creativity: the use of metaphors, epithets and antithesis to convey the internal contradictions and experiences of the poet; repetition of words and phrases to enhance the emotional impact of the text, as well as the use of oxymorons and rhetorical questions to express the complexity and contradictory nature of the creative process. As the study has shown, for Y. D. Levitansky creativity is an integral part of his essence, a way of self-expression and search for meaning in life. The author sees creativity as a source of pain and experience, as well as deep satisfaction. The poet sees creativity as a serious and exciting process that requires complete dedication and concentration, but at the same time brings joy and expectation of something important and meaningful. For Y. D. Levitansky, creativity is an exploration of the inner world, where pencil and paper act as tools to reveal the depths of the human soul.

Nowadays, political communication uses a whole range of confrontational speech strategies and tactics aimed at discrediting opponents in an information war, as well as imposing their point of view and forming a certain public opinion regarding discredited objects. A confrontational strategy provides the speaker with the opportunity to express a negative attitude towards his opponent, hostility and willingness to enter into conflict to achieve his own goals, ignoring the goals and interests of the other side. A confrontational strategy involves retreat and even violation of moral and ethical norms. Confrontational speech strategies include strategies of submission and persuasion, discrediting. Each of the strategies is implemented using different speech tactics. In order to effectively counter the threats of negative information impact, it is necessary to identify the speech strategies and tactics used by the German Federal Chancellor Olaf Scholz, which determines the relevance of the study. The purpose of the research is to study the confrontational strategies and tactics in O. Scholz’s speech, affecting a mass audience and aimed at discrediting both the image of Russia itself and Russian foreign policy. The source of the research material was Olaf Scholz’s keynote speech, which he delivered to the German Federal Government on February 27, 2022. This speech was the FGR reaction to the beginning of a special military operation by the Russian Federation. Descriptive and comparative methods along with contextual analysis techniques, as well as definitional, semantic analysis were used to achieve this goal. The article analyzes two confrontational strategies used by Olaf Scholz: discrediting, submission and persuasion. The discrediting strategy is used more often than the strategy of submission and persuasion. The following discrediting tactics have been identified: accusation, negative forecasting and polarization. The strategy of submission and persuasion is objectified with the help of threats and orders. Confrontational tactics act both autonomously (in isolation) and in combination with each other (combined).

Ideas about the world are objectified in phraseological units reflecting universal human values that are acquired over time growing up and entering adulthood. The article raises the issue of the formation of a phraseological picture of the world among students in educational institutions of secondary vocational education in Russia. There is a difference between the formed phraseological pictures of the world of students on the basis of nine/ten grades of basic general education and students in higher educational institutions. The phraseological pictures of the world of Russian-speaking and foreign-speaking students are compared. The influence of age, level of education and life experience on the breadth of phraseological units used in speech is noted. It is proved that the formation of a picture of the world depends not only on the family and the social environment in which a person grew up and was brought up, but also on his skills and desires to explore this world. The main factors influencing the formation of concepts of phraseological pictures of the world are determined. Based on the interpretation of phraseological units by students, a conclusion is made about the evolution of the language.

Fear as one of the key basic concepts of culture has repeatedly become the object of researches by Russian and foreign scientists. A.P. Chekhov, throughout his work, repeatedly addressed the problem of human fears. Let us also pay attention to the fact that in the works of A. P. Chekhov there are more than one work with the word “fear” in the title: these are the stories ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘Panic Fears’ (1886), and ‘Terror’ (1892). As we can see, the writer repeatedly came back to the problem of fear and how fear affects people throughout his whole life. In these stories, “fear” is the basis of the entire narrative, this feeling, starting with the title, is embodied at the compositional and metaphorical levels of the text. At the same time, other works were created during this period, in which the feeling of fear and danger is the basis of the entire narrative, for example, ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886). Finally, the story ‘Terror’ (1892) becomes the culmination of Chekhov’s fear of life. The aim is to identify and describe the typology of the author’s position in relation to the theme of fear in the work of A. P. Chekhov in the 1880s and early 1890s. The main material is Chekhov’s works of the early period of creativity in 1880–1887, dedicated to the theme of fear, as well as the story ‘Fear’ (1892) and the writer’s epistolary. The method of comparative analysis, systemic and narratological approaches to works of art and methodological scientific problems of positional style are used. A comparative analysis of Chekhov’s works ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886), ‘Panic Fears’ (1886), and ‘Terror’ (1892) made it possible to identify a common “resonant” space in the writer’s heritage, dedicated to the theme of fear, which allows us to raise the question of a single author’s position in relation to this topic in line with the scientific problems of Chekhov’s positional style. The early stories ‘A Thousand and One Passions, A Scary Night and ‘A Terrible Night’ are determined by a humorous approach to the “terrible”, but already in 1884, in the small-form drama ‘On the High Road’, fear receives a dramatic embodiment. Important in the development of the theme of fear in 1886 is on the one hand, in the story ‘Night in the Cemetery’ Chekhov returns to the humorous depiction of fear, on the other hand, in the story ‘Panic Fears’ this theme acquires existential meanings, which in the story of 1892 ‘Terror’ grow to the notion that existential fear in human life is total. The methodological approach in terms of Chekhov’s positional style made it possible to identify in his works of the 1880s and early 1890s the typology of the author’s position in relation to human fear. The works united by this problem have similar artistic features: this is the motif of the night, bad weather, internal focalization, due to the fact that the narration is organized in the first person. But in general, in these works, a typology of depicting a feeling of fear is revealed: the author’s position in relation to this topic is determined by humorous, dramatic and existential approaches.

The interest to Gogol’s literature heritage in the literature era of the XX–XXI centuries has been noted by many researchers. Literature scholars are actively introducing into scientific circulation the works of modern authors. They allow to raise the question of the place and role of Gogol’s heritage in the aesthetic search of the literature process of the turn of the XX–XXI centuries. The aim of the study is to analyze the functioning principles of the novel “The overcoat” and its system-forming image of a small man in the works of writers of the turn of the XX–XXI centuries. The novelty of the study lies, firstly, in the comprehension of the material that has not been previously analyzed, and secondly, in the reconstruction of the types, methods and function of the reception of the “overcoat text” in the literary era of the XX–XXI centuries. The works of modern authors were used as material: the chapter “Little Man Tetelin” from V. Makanin’s novel “The Underground or the Hero of Our Time” (1998). Makanin’s novel “The Underground, or the Hero of Our Time” (1998), stories by V. Petsukh “To Nikolai Vasilievich. Demonstration of Possibilities” from the collection “Plagiarism” (2001) and O. Slavnikova’s “CHANEL No. 5” (2009). The selected works belong to different aesthetic and genre forms and the point of convergence between them is their dialogical reinterpretation of the stylistic system of the novel “The Overcoat”, built on the combination of two modes of narration – “mimicry of grief” and “mimicry of laughter” (B. Eichenbaum). It is proved that the stylistic organization of the narrative principles of the novel “The overcoat” has a modeling effect on the works. All three selected authors use direct quotation allusion to the text of Gogol’s novel. The “overcoat plot” is projected by V. Makanin and V. Petsukh to comprehend the fate of the Soviet intelligentsia in the post-soviet realities. The writers record and comprehend the spiritual degradation aand grinding f the Soviet intellectual as a social and anthropological type. O. Slavnikova’s principles of transformation of the “overcoat plot” are connected with the reflection on the ontological value and self-sufficiency of the individual, which are lost in the situation of blurring the boundaries between the material and the ideal, man and thing. The human deformation discovered and explored by Slavnikova is thought of as an unmotivated fundamental property of the world. All three authors are characterized by the actualization of Gogol’s laughter, where the comic and the tragic coexist.