No 3 (2022)

Introduction. Language units reflecting cultural, historical, literary representations of the linguocultural community, which have sufficient reproducibility and stability of the component composition, are treated as precedent phenomena. The given article is devoted to the research of the Russian-speaking linguoculture precedent phenomena in foreign language and cultural environment on the example of Chinese network diaspora discourse. The aim of the work is to investigate precedent phenomena in the collective consciousness of users of the Internet community “Baiki Laovaya”. Material and methods. The research was based on the correspondence of the participants (more than 57000 subscribers) of the open group “Laowai Bikes” of the social network Vkontakte. We analyzed 110 messages (posts) and 11350 comments to them that were published in the period from 1 to 27 September 2021. The material was selected by random sampling from the text continuum, then precedent phenomena were classified according to the type, their semantics and relevance were analyzed. The quantitative method and the method of contextual analysis were also used. Results and discussion. The sources of precedent phenomena in the speech of the diaspora community are diverse and are subdivided into the following large groups: 1) classical Russian and Soviet, as well as foreign literature; 2) winged expressions, sayings of famous people, precedent names; 3) speech clichés, paremics, Internet memes, and anecdotes; 4) advertising, cinema and television. Numerous examples of the use of precedent phenomena from each of the groups demonstrate not only the impressive variety of sources, but also the high communicative and linguocreative potential of precedence in the discourse under study. Conclusion. The active use of precedent phenomena in communication and the absence of facts of misunderstanding, failure of communication, the development of the semantic potential of precedent phenomena in network polylogues indicate the formed special cultural space of diaspora discourse, the participants of which have a common linguocultural code. The specificity of this code is determined by: 1) being in a single foreign-language and foreign-cultural continuum and its interpretation as one of the frequent occasions to use precedents (Chinese holidays, traditions, climate, political situation, domestic conditions, etc.); 2) relatively high level of education and broad outlook of diaspora community members, demonstrating knowledge in the field of domestic and world literature, art, history, mass culture, etc. 3) appeal mainly to the traditional, established during the Soviet era cultural matrix as a common cognitive and imaginative base, able to unite representatives of different generations, including – the young, of the Russian-speaking world from different countries of the former Soviet Union.

Introduction. The concept of LAUGHTER is a significant linguocultural concept. The study of the axiological component in the meaning of the lexeme laughter as a key nomination of the concept LAUGHTER demonstrates the significance of this concept for Russian linguistic culture and contributes to the identification of invariant (universal) and specific (national) features in its content. The purpose of the article is to consider the value component in the structure of the concept LAUGHTER by analyzing the meaning of its representative – the lexeme laughter. Material and methods. The material for the analysis of the value component of the concept LAUGHTER in the national linguistic picture of the world was Russian proverbs, as well as data from lexicographic sources and the national corpus of the Russian language, in which the verbal marker of the concept appears – the lexeme “laughter”. Research methods: lexico-semantic, contextual, seme analysis, elements of linguoculturological and linguoconceptological analysis. Results and discussion. From the standpoint of subject correlation, laughter is short characteristic voice sounds that express various human feelings, from the point of view of conceptual correlation, laughter is a complex concept that correlates with reflection. The connotative component of the lexeme laughter is expressed in the seme appraisal. The specificity of the Russian national concept of laughter is the understanding of laughter as a way of expressing a contradictory assessment of someone else’s (including one’s own) actions, facts and phenomena of reality, from joy and fun to irony and ridicule. Laughter, in the view of native speakers of the Russian language, is a phenomenon whose axiological specificity lies in the property of ambivalence. Conclusion. The contextual analysis of the lexeme laughter as a nominee of the concept of the same name allows us to speak about the significance of the concept LAUGHTER for native speakers of the Russian language, since the lexeme laughter is used by the speaker as a means of assessing a particular situation. The value component of the LAUGHTER concept tends to vary: from a negative assessment of actions, facts, phenomena of reality to a neutral and positive one. The determining factors are the presence of subjective factors, as well as national-cultural and historical features of the development of the people. The national specificity of the concept LAUGHTER lies in the antinomy, paradoxical nature of the interpretation of laughter in the Russian language picture of the world.

Introduction. The focus of this paper is the observation and comparison of several symbolic connotations of British and Slavic basic color terms. Aim and objectives. The paper’s aim is to discuss cultural and linguistic commonalities and peculiarities of a few color terms and prepare educational resource for different disciplines, such as English, Russian as a foreign language, ethnolinguistic and linguacultural studies. Material and methods. This paper observes British and Slavic idioms with the component ‘color’ in its connotative meaning. A cross-disciplinary approach helps identify the essential place of color terms in interpreting linguistic picture of the world and emphasizes the integrative role of culture. We consolidate with ideas of L. Bloomfield and J. Lyons concerning connotative meaning in linguistic semantics. Results and discussion. Connotative meanings of color terms often become cultural symbols and serve as signs of some abstract concepts. Since color perceptions relate to the sensory sphere, they are easily transferred to the characteristics of emotions, dignity of character, behavior, appearance. Interpretation of color terms in their connotative meanings will provide insight into the national mentality. Connotative meanings reflect individualized situations based on national cultural values and norms of social life. In provided examples the basic meaning of a color term is becomingusually narrower. Conclusion. The comparative analysis of connotations of five color terms leads to following conclusions: 1) color is able to evoke certain emotions traced in languages in the form of idioms containing a color component; 2) differences in the semantic structure of color connotations in English and Russian are due to national and cultural peculiarities; 3) etymology of color terms and historical facts sometimes make it possible to establish the dependence of a symbol on practice; 4) the main (perhaps the most universal) source of color terms are natural objects with a characteristic color.

Introduction. The article aims at indicating and describing generic characteristics of the editorial. Aim. The aim of the article is to reveal specifics of the editorial as a separate genre. For this socio-cultural environment of the genre was described as well as the main function and generic characteristic. Material and methods. The materials of the study are 50 editorial texts published in English broadsheets the Economist, the Independent, the Washington Post, the Guardian from 2016 to 2021. A complex of methods was used to analyze the material, namely tools of discursive, stylistic, lexical, grammatical and syntax analysis. Results and discussion. The editorial plays a significant role in socio-political sphere, as the positions stated in the text can affect public values and opinion; the editorial enables to preserve balance of opinion, essential for mass media. As a result of the analysis we concluded that the editorial can be characterized as a separate genre based on the unity of theme, style and composition. We indicated the following generic characteristics of the editorial: 1) unified structure, which consists of the introduction, the main body and the conclusion. The latter plays a significant role and includes recommendations (the most common one – 75% cases), forecast (23% cases), evaluation (the least common one – 4 % cases) or a combination of the abovementioned conclusions; 2) from the stylistic perspective informal speech, argumentation, authorial nominations and intertextuality are distinctive for the editorial; 3) characterized by a variety of topics, the editorial is aimed at analyzing a narrow specialized issue.

Introduction. The study of Russian Old Believer’s dialects is included in modern Russian studies of research problems, as proven by the scientific literature and the subjects of many recent conferences, where the main attention is paid to the lexical problems. Aim and objectives. The analysis of the lexical composition of Old Believer household texts created by one author. Material and methods. The object of the present study were 18 household manuscripts (Paschal diary, various notes, samples of pens and inks, household accounts), written on birch barks and papers in semi-uncial and cursive handwriting. Most of these records were made in the third quarter of the 20th century, presumably by an individual, who is a member of the Old Believer “estates” in the north of Tomsk. The material consists of 733 words (3,367 used). The study uses the scientific description method which includes methods of observation, classification, interpretation, contextual analysis and quantitative counts, as well as linguopersonological elements which include portrait of speech methods and comparative/collation analysis in order to identify gender specificity in the vocabulary of two linguistic personalities. Results and discussion. The analysis showed the vocabulary distribution of the women notes by the author through grammatical classes, their relationship with the types of speech represented in the texts: The description is dominated by nouns and words of the state category, the narrative – verbs of several semantic groups (movement, specific physical actions, etc.), their adverbial actants and the discourse – pronouns, verbs of emotionally-psychological states. The study revealed the most frequent vocabulary for these sources: byt’, den’, yasno, sneg, studeno, etc., as well as words that were used once: apostol, oblachno, usnut’, etc. Semantically, the lexicon of the manuscripts is distributed into two major nominative zones: “World of Nature” and “Human World”, which include a number of sub-zones. The first most representative one of them is sub-zones: “Weather phenomena” (tucha, moroz, syroy, tikhoy zastyt’, dut’, oblachno), “Heavenly objects” (zvezda, solntse), “Elements of the landscape” (ezero, les), etc. The Human World zone includes anthroponymic (Manichka, Stenya, sis, hunter, guest, deushka), somatic (heart, hand), emotive sphere (gore, slezy, neschastnyy, stradat’), industrial (kholst, tkat’, rybka), etc. vocabulary. The nominative zones overlap with each other, as in the Animal World sub-zones (ovsyanochka, los’ – petushok, shchenyata) and Time (noch’, osen’yu – prazdnik, prepolovenie). A separate group is the vocabulary of religious discourse, including confessionally marked (otche, bratets, otluchit’sya). In the aspect of usage, the vocabulary is divided into all-Russian and regional vocabulary. Regional vocabulary includes ethnographisms (morda, cherym), dialectal lexical (malo malo, chayat) and local variants of all-Russian words (suda, vdale, veselyy). A part of the vocabulary shows a commonality with the vocabulary of the diary of the early 20th century, which reflects a different sub-dialect (sinochka, perevalki), and another part is not reflected in the dialect dictionaries at all (nepis, yam). Conclusion. 1. The revealed woman’s lexical resource is characterized by a certain diversity both in terms of its topics and in terms of part of speech, which allows us to consider her linguistic personality (LP) with a high index of lexical diversity of speech. 2. This is a dialectal LP, the lexicon which are marked territorially. In general, they correspond to the lexical subsystem of local priketskii accents with the preservation of their ancestor’s past foreigndialect influence. 3. This personality can be characterized as a religious LP with a confessionally marked vocabulary.

Introduction. The study of the concept “life” has been carried out lately from the point of view of different linguistic stances (linguoculture, cognitive linguistics, rhetoric, etc.). The abundance of papers which explore the above-mentioned concept is justified by the fact that it is existentialistically important for the whole nation and for each individual. The aim is to reveal the peculiarities of the concept “life” in the belles-lettres world picture of the Siberian writer G. I. Klimovskaya. Material and methods. The study of the short novel “Onka” by G. I. Klimovskaya is carried out from the point of view of regulativity theory which is one of the directions of communicative text stylistics. Moreover, with the aim of revealing the peculiarities of the concept “life” the theory of V. I. Karasik was taken into account according to which the imaginative, notional, and axiological components in the concept structure are differentiated. Results and discussion. It is stated that the concept “life” in the short novel “Onka” by G. I. Klimovskaya is represented by such words as “life”, “live” and their derivatives, by the lexemes “alive” and “tenant”. It is established that in the notional component of the concept under study the prevalent are the semes ‘duration’ and ‘quality’, for the imaginative component the metaphor “life/death” – “scales” is characteristic which is not singled out while describing the Russian language world picture. The explicit connection of the concept “life” with the concepts “illness”, “love”, “death” is noted; the concept “life” is implicitly connected with the concept “God”. It is shown that the concept “life” in the short novel “Onka” is a hyper-concept that is formed on the basis of the through consecutive-comparative-synthesizing linguocognitive mechanism. This linguocognitive mechanism of the stimulating in the reader’s consciousness of the hyper-concept “life” is provided by the strong explicit regulative strategy of the consecutive-comparative type. Repetition and contrast are the predominant ways of regulativity that create the singled-out strategy and ensure the efficiency of the dialogue between the writer and the reader. Conclusion. The carried-out analysis lets us come to the conclusion that the concept “life” is not only of great value for G. I. Klimovskaya but also holds a valuable place in the belles-lettres world of the Siberian writer.

Introduction. The genre of idyll, which has been developing in world literature since Antiquity, is crucial for the poetics of Russian literature in the first third of the XIX century. The aesthetics of Romanticism helped it develop, and thus a romantic idyll arose. A great contribution to the development of idyll in Russia was made by V. A. Zhukovsky, the founder of Romanticism in Russian literature. The scale of the poet’s work was quite large and influenced the works of his contemporaries, among whom was N. V. Gogol, who showed considerable interest in idyllic themes in his youth. Aim and objectives. In this regard, the purpose of the article is to determine the features of V. A. Zhukovsky’s idyllic model implementation in N. V. Gogol’s early poem “Ganz Kuchelgarten”. Material and methods. The material of the study is the idyllic poem by N. V. Gogol “Ganz Kuchelgarten”, as well as the works of V. A. Zhukovsky that influenced it, including an idyll “The Village Watchman at Midnight”, “pavlovian poems”, the poems “Theon and Aeschines”, “Anguish” (“toska”), “Lalla-Rookh”, “There the heavens and waters are clear!”, the elegies “Slavyanka” and “Evening”, the romance “Desire”, the song “Traveller”, the article “About a simple and decorated style”. Biographical and comparative research methods are used in the work. Results and discussion. The genre of idyll is very close to V. A. Zhukovsky. An idyllic worldview exists organically in his poetic consciousness. The period of the poet’s strong interest in idyll is synchronized with his youth. In his youth, he draws new poetic forms mainly from European idylls. In them Zhukovsky is attracted by images of simple, everyday life, focus on rural nature, patriarchal mores. The poet is especially inspired by the natural philosophical aspects. The distinctive features of Zhukovsky’s works created in this genre are descriptiveness, an abundance of static natural paintings, free verse. In addition, we will separately highlight the author’s aim at reproducing the natural dynamics of life. The poet acts as a painter who strives to convey in his paintings the smallest details of the inner nature life. However, this is only an explicit part of Zhukovsky’s idylls. Their implicit part is much more important. By it we mean the sacred, the religious and the mystical. We see a certain evolution of Zhukovsky’s idyll. From the glorification of landscapes and the depiction of human life in the bosom of nature, the poet consciously moves to a more complex creative stage, focusing on the mystical and listening to his religious feeling. As for other features of the idyll genre in Zhukovsky’s work, like contrast or two-worldness of romanticism, the works of this genre translated by him are an alloy, a synthesis of the beautiful and the enigmatic in the world. It is no coincidence that many of them open with night landscapes. These were the features of the idyll genre implementation in Zhukovsky’s creative system. It was under their influence that N. V. Gogol wrote his first work, the poem “Ganz Kuchelgarten”. Zhukovsky’s idyllic model in Gogol’s poem “Ganz Kuchelgarten” is identified almost immediately. This is confirmed, firstly, by the topos of the poem (rural hinterland). Secondly, by the fact that the reader is shown pictures of pastoral life. It is also important that at the beginning of the poem there is an image of the family (patriarchy is an important aspect of the idyll). In addition, Gogol’s poem reveals other traditional topos for idyll (house, garden). Following the example of Zhukovsky, Gogol uses the motifs of food, sleep and music in the work. They are widely represented in the text and emphasize the idyllic moments of the poem. The heroic series can also be considered traditional for the idyll (the canons of which in Russian literature were first laid by Zhukovsky), since the author’s detailed representation of Louise’s family is following an idyllic orientation to the fullness of life, which here is the integrity of the family. The poem shows the desire of the characters to achieve happiness, they dream of an idyllic life. However, romantic features are more visible in the main character of the poem. And yet it lacks the passion of Byron’s heroes. At the end, Ganz rather follows the line of behavior of Aeschines, embodied by Zhukovsky. Conclusion. Thus, Gogol, when working on his youthful poem “Ganz Kuchelgarten”, was guided by the idyllic model of Zhukovsky. This is indicated by the traditional elements of the poet’s idylls, which are clearly present in Gogol’s text (the image of a family, pastoral landscapes, natural cycles, the motif of food, sleep and childhood). However, Gogol ignores some important elements inherent in Zhukovsky’s idylls. So, Gogol’s main character demonstrates the features of a romantic hero rather than an idyllic one. In addition, there is no pronounced mystical veil in Gogol’s poem. And finally, dissonance (the substratum of the romantic and idyllic) is certainly felt in it. The reason for it lies in the insufficiently thought-out compilation of leading European and Russian writers’ artistic techniques.

Introduction. Conceived in 1946 by the children’s writer A. M. Volkov historical novel about the era of Ivan the Terrible was published in 1954 under the title “The Architects”. Volkov addressed a turning point in Russian history, when there was the formation of autocratic statehood, the strengthening of the Russian centralized multi-ethnic state. All these historical processes are reflected in the architecture of the sixteenth-century Moscow Cathedral of the Intercession on the Rvu, known as the Church of St. Basil. Aim and objectives. The principles of artistic historicism in the novel “The Architects” by A. M. Volkov are investigated. The influence of genre models of the Western European historical novel of the Romanticism epoch on the way and methods of construction of plot-compositional whole of the work “The Architects” is considered. Material and methods. The article examines the historical novel “The Architects” by A. M. Volkov. Comparativehistorical and typological methods of analysis of the work of fiction were used. Results and discussion. Volkov’s historical novel stands in the tradition of Western European and Russian historical novels of the Romantic era. At the same time in terms of plot construction, composition, in terms of building a system of characters and even chronotopically the novel is divided into two unequal parts. The first three parts are written on the type of adventure-psychological novel, the model of which was laid by Walter Scott. This genre variety of the historical novel is characterized by combining the themes of war and peace, public and private life, and the fate and position of the main character is closely related to the changing historical situation. The last two parts are written in the type of adventure-philosophical novel, a striking example of which is Victor Hugo’s Notre Dame de Paris. The main theme is not the life and adventures of the hero, not a historical or political turning point in the life of the nation, but the connection of history and architectural construction, the statement of moral, ethical and aesthetic values of national culture at a crucial time. Conclusion. The novel “The Architects” shows the erection of the Moscow Cathedral of the Intercession on the Rvu as a monument in honor of an important historical event – the capture of Kazan by Ivan the Terrible. But the Intercession Cathedral is an expression “in stone” of the whole historical era of the formation of the Russian national autocratic state. This masterpiece of Russian architecture embodied identity, originality and national originality of Russian culture, the departure from imitation of Byzantine aesthetic thought, the idea of unification of nearby lands and different ethnic groups around Moscow.