Abstract: The article addresses the subject of the semantics of Spanish words and collocations containing the roots -gr(i)eg- (-grec-, -gring-, etc.), -helen-, -bizant-, associated with Greece and with the Greek culture. The author analyzes the semantics and etymology of the words and expressions the way they are represented in the two most reputable explanatory dictionaries, Diccionario de la lengua española (DLE) and Diccionario de americanismos. In some cases, the usage of the selected units is described with reference to corpus data (Modern Spanish corpora — CREA and CORPES XXI). The study has revealed the presence of a significant proportion of “learned borrowings” (“cultismos”), which is explained by the importance of Ancient Greek and Byzantine culture for European civilization in general and for Spain in particular. It is stated that the semantic evolution of some vocabulary units was influenced by stereotypical ideas about Greece and the Greeks. In addition, the analysis of Diccionario de americanismos has shown some peculiarities of the usage of the words and expressions under analysis in Latin American Spanish (e. g. the more frequent use of “gringo” and its derivatives).

DOI: 10.25136/2409-8698.2022.11.39080

Abstract: The article is an analysis of the controversy that took place on the pages of the almanac "Mnemosyne", published by A. S. Griboyedov, V. K. Kyukhelbeker and V. F. Odoevsky in the 19th century. The object of the study is the negative critical reviews devoted to the almanac "Mnemosyne". The aim of the study is to identify the influence of negative critical reviews on the perception of the almanac "Mnemosyne". The main part of the work is devoted to negative reviews about the almanac. The article also contains a brief description of the history of the creation of the almanac itself for a more complete and detailed understanding of the material. When considering critical reviews of the almanac "Mnemosyne", first of all it is worth mentioning the personality of F. B. Bulgarin, famous for his loud polemics with the publishers of "Mnemosyne", as well as A. F. Voeykov and Prince Shalikov, who was directly related to this almanac. The novelty of this article lies in a more detailed consideration of the negative critical reviews on the almanac "Mnemosyne", as well as the impact of this controversy on the output of the almanac. It should be noted that "Mnemosyne" for a short but rather active period of publication acquired both ideological supporters who shared the views of the publishers and opponents who actively criticized the almanac, among whom were F. B. Bulgarin, A. F. Voeykov and Prince P. I. Shalikov. The controversy of the publishers of Mnemosyne with critics did not stop until the publication of the almanac was discontinued. These critical reviews caused a heated debate on a number of issues: starting from the appearance of "Mnemosyne", and ending with individual comments on the works of the almanac. These discussions not only did not spoil the reputation of Mnemosyne, but also helped to attract public attention to it.

DOI: 10.25136/2409-8698.2022.11.39213

Abstract: The article discusses aesthetic guidelines in postmodern literature. The emphasis is placed on the analysis of the aesthetics of the ugly in the novels of V. Sorokin "Blue Fat" and Mo Yan "The Land of Wine", the similarities and differences of the work of the two writers are revealed. Sorokin and Mo Yan are from two completely different countries, nevertheless their literary style and language are similar. The creativity of both is marked by the presence of multidimensional literary experiments. In "Blue Fat" and "The Land of Wine" there is an abundance of violent scenes, as well as detailed descriptions of violent bloody scenes. Sex scenes are also widely represented in both novels. The description of physiological details and nauseating details also occupies a significant part in both novels. In addition to the aesthetics of the ugly, both writers are heirs of the classical literature of their countries. Both writers create their own artistic world based on the aesthetics of the ugly. Unlike Sorokin, Mo Yang is obsessed with depicting the comparison between good and evil, beautiful and ugly. According to Mo Yan, the world is cruel, but evil can never prevail over good. In "Blue Fat" there are many Chinese elements of everyday life, which gives the novel an oriental flavor. Mo Yan also admits to the influence of Russian classical and Soviet literature on him: in the novel "The Land of Wine" the words of I. Lenin and L. Tolstoy are quoted. All this, as it was shown in the article, proves that the works of Vladimir Sorokin and Mo Yan have existing similarities. The heritage and development of the traditional literature of their country, the reinterpretation of modern society and its values, a self-sufficient artistic world based on the aesthetics of the ugly, is accompanied by an abundance of literary experiments, which allows both writers not only to show their talents in literary circles, but also to successfully demonstrate their own national mentality.

DOI: 10.25136/2409-8698.2022.11.39188

Abstract: In his early works, A.P. Chekhov often draws the reader's attention to the forms of behavior of the characters. In a literary text, nonverbal means of communication used to describe communication between actors acquire special significance. The article is devoted to the problem of typology, role and effectiveness of nonverbal linguistic means of communication in the aspect of their use in the author's literary text. The relevance of the research lies in the insufficient knowledge of the place and role of paralinguistic means of communication in the early works of A.P. Chekhov. The subject of the study is the linguistic means of describing nonverbal behavior in a literary text. The object of the study was the ways of expressing nonverbal communication of the characters of the work. In the course of the work, descriptive and analytical research methods were used. The research material was the story of A.P. Chekhov "Thick and Thin" (1883). The practical significance of the work consists in the application of the research results in the courses of the Russian language, communication theory, philological analysis of text, stylistics. The aim of the study is to identify and analyze, based on the classification of nonverbal means of linguistic units existing in linguistics, with the help of which A.P. Chekhov in his early stories describes the nonverbal behavior of the characters, their composition and functions.

DOI: 10.25136/2409-8698.2022.11.39117

Abstract: The subject of the study are two short stories by the American writer Charles Bukowski «Aftermatch of a lengthy rejection slip» and «Notes on the life of an aged poet». The selection of these stories is due to the fact that the first of them regards to beginning of Bukowski’s creative path, and the second one is connected with the mature period of his creation, which, in turn, allows not only to observe how the authentic style of Bukowski as a creator was forming, but also how an artist is able to capture the spirit of the historical epoch that is relevant to him. Thereby the object of the research is the image of the hero-artist, around which most of Bukowski's literary works are concentrated, including the stories selected for analysis. The purpose of this article is to analyze how the hero-artist in Bukowski’s short stories «Aftermath of a lengthy rejection slip» and «Notes on the life of an aged poet» experiences his historical present reflecting upon his professional status and his creativity. The scientific novelty of the study lies in the fact that these stories were not subjected to scientific analysis in the domestic academic discourse and, therefore, Bukowski's short prose was not considered as a body of texts that has signs of modernist and postmodernist literature. Using comparative, descriptive and sociological methods in the study, the author of the article comes to the conclusion that Bukowski's work covers a specific historical situation in the United States, in which there is a transition from modern to postmodern mindsets, from the industrial mode of production to the postindustrial, which, in fact, Bukowski embodies in the image of his hero-artist and his creative practices vividly.

DOI: 10.25136/2409-8698.2022.11.39267

Abstract: This article is devoted to the analysis of Kalmyk cosmogonic myths about the Sun and the Moon. The author's task is to analyze the myths in the collections, to show that, despite the records or publications in different years, the general culture influenced the cosmogonic mythology of the Kalmyks. The subject of the study is plots, images and other elements of Kalmyk oral narratives about heavenly bodies. The main material of the study is the texts of Kalmyk myths recorded by researchers of the Kalmyk Scientific Center in the regions of Kalmykia and published in the volume "Myths, Legends and Legends of the Kalmyks" of the "Code of Kalmyk Folklore", and the material printed in the collection "Seven Stars" was also used. The novelty of the research lies in the analysis of cosmogonic myths presented in two collections published at different times. The main conclusion of the study is the fact that there are several versions of the myth of the Arach, which are different versions of the same plot. The appearance of the Sun and Moon is mentioned only in a few myths, in which they appear from the waters of the ocean in different ways: knocking down water with a mountain, with the help of a huge pump, with a blow of a sharp spear. Kalmyk cosmogonic myths explain not only the birth of the Sun and Moon, but also solar and lunar eclipses. This plot is quite widespread among the Mongolian peoples. In all the myths described above, the Sun and the Moon help Vajrapani Gegyan catch the Arach and cut it in two. The lower part descends to the ground, the upper part rises to the sky. Lunar and solar eclipses found a peculiar reflection in the consciousness of the ancestors. The peculiarity of the Kalmyk cosmogonic myths indicates the desire of the ancestors to know the world.

DOI: 10.25136/2409-8698.2022.11.38540

Abstract: The author considers geortonyms as one of the varieties of modern advertising names: the subject of the study were the names of art projects of the State Tretyakov Gallery of the last 5 years, the purpose of the study is the mechanisms and specifics of the implementation of the main functions of these commercial nominations. To analyze the structure, semantics and stylistic features of geortonyms from the point of view of their functioning, special linguistic methods of functional-structural and contextual-interpretative analysis, as well as the linguopragmatic method were used. Special attention is paid to the study of those components of the studied nominations, with the help of which an effective impact on the target audience is carried out. It is established that the names of art projects implement an informative function that allows identifying the named object, while simultaneously solving informative and educational tasks, as well as an advertising function that involves managing the attention of the target audience in combination with influencing its emotions. The ultimate goal of creating geortonyms of the studied group is the possibility of influencing the behavior of the addressee. The most significant elements of the structural organization of the analyzed nominations and the linguistic expressive means used in their creation, which contribute to the implementation of the specified set of functions, are identified. The obtained results contribute to the study of a specific group of modern advertising names – the names of art projects that play an important role in the modern cultural space. Among all types of names of festive events, this thematic group is the least studied, in this regard, the analysis of these names allows us to obtain new data on how to implement the main functions of geortonyms – this determines the scientific novelty of the study.

DOI: 10.25136/2409-8698.2022.11.39280

Abstract: The subject of this study is the lexical means of expressing emotive semantics in Nikolai Vasilyevich Gogol's poem "Dead Souls". The object of this article is N.V. Gogol's poem "Dead Souls". The author of this article considers in detail such aspects of research as to investigate the essence of emotive semantics, to identify and analyze the ways of emotional expression in a literary work, and also to present the results of the analysis of lexical means of emotive semantics of N.V. Gogol's poem "Dead Souls". The research methods in this article are the method of analysis, descriptive method, continuous sampling method, and also contextual analysis of lexical units. The main conclusions of the study are that the research conducted within the framework of this article confirms the assumption that the main tool for emotional verbalization is emotive vocabulary, namely various lexical language means. This category of vocabulary is nominative. The reasons for the priority of this tool are due to the fact that in the structure of the lexical meaning of a language unit, it is the emotive seme that stands out most vividly. The scientific novelty of this article consists in the fact that for the first time a linguistic study of the emotive content of such a work by N.V. Gogol as the poem "Dead Souls" was conducted. The results of this study can be applied in the further study of linguistic features of emotive semantics, as well as in the practice of teaching the russian language.

DOI: 10.25136/2409-8698.2022.11.39077

Abstract: The article is devoted to the peculiarities of the functioning of the television series genre within the framework of the development of modern mass screen media culture. The author conducts a thorough analytical review of modern scientific research in order to summarize the most important theoretical provisions on the basis of which the author builds a study of the Chinese television series "Symphonic Novel" in the aspect of actualization of social and national cultural values. The author suggests structural parameters and criteria for the distribution of values on the scale of the value barometer, depending on the possibilities of their influence on the formation of the image through the media images of the TV series. In the course of the study of its value potential, the author comes to the conclusion about the specific role of the value of "classical music", which allows reformatting the general list of values broadcast in a television series through a system of characters, storylines, motives. A television series shown abroad as a product of modern media culture can become an effective tool of "soft power of influence" due to the peculiarities of the value content of its media images. The value paradigm of the television series "Symphonic Novel", responding to the key positions of scientific and theoretical approaches to the study of the television series as a symbiosis of socio-cultural and media-cultural characteristics of the national-cultural mentality of the Chinese, at the same time becomes more flexible under the influence of the value of classical music, which as a leitmotif accompanies the disclosure of all other values in the development of the television series narrative. At the same time, the value of classical music does not distort or detract from other values, but shows their image potential. The role and place of the TV series as a hybrid genre based on the interaction of art and media communication in the structure of a multi-tiered image strategy is that the media images created in the TV series at the intersection and in the convergent interaction of genre characteristics of artistry and media communication acquire a special value potential that allows influencing the audience and forming its idea of the subject of the media message.

DOI: 10.25136/2409-8698.2022.11.39252

Abstract: The handshake is an important element of etiquette in many cultures. It is used in various, not only official, but also informal situations that express greetings, farewells, gratitude, etc. In this work, the object of study is the etiquette of shaking hands during the welcome ceremony of a state visit. The subjects of the study are various modalities and their meanings when performing a handshake. The authors consider in detail such aspects as the requirements of a handshake in official communication: the duration of the handshake, the distance between the communicants, the types of modalities: facial expressions, visual gaze, body movement. Particular attention is paid to highlighting and analyzing the significance of handshake modalities during the welcoming ceremony. The conducted research provides information about the meaning of the handshake and the role of other non-verbal modalities: distance, gestures, gaze and facial expressions, which are designed to demonstrate politeness in a communicative situation. A special contribution of the authors to the study of the topic is to identify the function and meaning of various modalities during a handshake. The study helps to study the expression of politeness in various modalities during a welcome ceremony. The novelty of the study lies in the analysis of etiquette in terms of multimodality. Using the ELAN software, the modalities of the handshake at the ceremony are displayed visually, which allows statistical methods to match verbal and non-verbal elements during the handshake.

DOI: 10.25136/2409-8698.2022.11.39221

Abstract: The subject of the study is an intertextual dialogue between V.Y. Bryusov and Paul Verlaine based on the poem "Croquis parisienne" ("Parizhskoe croquis"). The object of the research is the ways and means of forming intertextual and intercultural dialogue in poetic translations of the Silver Age. The authors consider in detail such aspects of the topic as the unique word usage of the word "croquis" in the use of V.Y. Bryusov, reinforcing the conclusions with quotations from the National Corpus of the Russian language. Special attention is paid to the exclusive use of the word "croquis" as a genre mark, which corresponds to the extensive tactics of mastering genres by V.Y. Bryusov both in translations and in original poetry. The main conclusions of the study are the means allocated by the authors to implement intertextual dialogue in translation: the changes made by the translator to the original text strengthen the dialogic component of the picture developed by the author and weaken the motive of existential loneliness presented in the original text. A special contribution of the authors to the study of the topic is the identification in the translation work of V.Y. Bryusov of the original genre of the ekphrasic type - "croquis"-a sketch associated with the visual and verbal representation of the image. The novelty of the research lies in a detailed description of this impressionistic poetic genre and tracing its semantic and aesthetic connections with the fundamental attitudes of Impressionism in painting.

DOI: 10.25136/2409-8698.2022.11.37735

Abstract: The main subject of the article is the heroes-writers and heroes-editors from the main works of Yu. Polyakov. In the center of the research are such works of Y. Polyakov as "Parisian love of Kostya Gumankov", "Goat in milk", "Plaster Trumpeter", "Love in an era of change", "A merry life, or Sex in the USSR". This article confirms that the work of Yu. Polyakov is an encyclopedia of late Soviet and post–Soviet life, and the writer himself is a chronicler of the era. The article also mentions the proximity of Yu. Polyakov to the literary circle and his ability to portray a gallery of images of writers without distance. By analyzing the images of representatives of the Soviet intelligentsia, this author tries to answer the questions: why did the USSR collapse? What is the role of the intelligentsia in the collapse of the USSR? The article identifies seven types of writers: opportunists, sycophants, "dissidents", opponents within the Soviet system, ladies' men, drunkards, and writers who embody the conscience of literature. Most of those characters do not feel their social responsibility to the people, they only think about their material goods, only two characters demonstrate writer's responsibility. Having analyzed the main and minor characters of these works, we can understand the reason for the collapse of the USSR and conclude that the lack of a sense of responsibility among the intelligentsia and indifference to their country lead to the breakdown of society.

DOI: 10.25136/2409-8698.2022.11.39200

Abstract: The subject of this study is the associative-semantic supertext as a system of integrated texts, which is a textual community. The purpose of the study is to specify the terminology and clarify the features of some aspects of the associative-semantic supertext, in particular, to clarify the concepts of the core and structural components of the supertext, as well as to solve the problem of distinguishing between the types of associative-semantic supertexts according to the type of referent, that is, questions on the answers to which depend today there is clarity in the identification, classification and interpretation of supertexts. In questions of the theory of supertext, the methodological basis of the study was the work of V. N. Toporov, N. A. Kupina and G. V. Bitenskaya, N. E. Mednis, A. G. Loshakov, in questions of the theory of myth — the work of A. F. Losev and E. M. Meletinsky, in matters of the theory of concept, motive, archetype, symbol, intertext — the works of Yu. S. Stepanov, A. F. Losev, B. M. Gasparov, K. Jung, Yu. Kristeva, A. P Chudakov, I. V. Silant'ev. The study clarifies the concept of the supertext core, designating the myth as the main component of the supertext and its modern version — a constant mythologized representation. The classification of associative-semantic supertexts according to the type of referent is given, it is shown that nominal, topical (spatial) and event supertexts are heterogeneous and are divided into personal and character, local and regional, casual and epochal supertexts, respectively. All this speaks of the novelty of the study, which continues the general theory of supertext. The development of the theory of associative-semantic supertext contributes not only to further study of its various aspects, clarification of their functions, but also indicates new approaches to large text formations, since, generated by creative writers, they not only recreate the world in constant representations, but also form thanks to these mythologized representations of the picture of the world assimilated by the perceiving consciousness.

DOI: 10.25136/2409-8698.2022.11.37500

Abstract: The article analyzes the structure and features of the lexico-semantic field (of the word) "sanction" in the Russian political sphere; author discuss the semantic connections of its lexical units and metaphorical models of this word in the political discourse of the Russian language. The subject of the study is the semantic content of the term under consideration, presented on the website Kremlin.ru and in the Russian National Corpus. The purpose of the study is to analyze a fragment of the Russian political picture of the world reflected in this field. To achieve this goal, a set of the following linguistic methods has been applied, such as statistical description, component analysis, field method, etc. The novelty of the study lies in the fact that, using the example of the term "sanction", an attempt is made for the first time to build a lexical-semantic field of a political term of the Russian language. The results obtained show that the lexico-semantic field "sanction" in the Russian political sphere consists of 7 microfields that are interconnected with each other and have their own model - "core-periphery", however, the boundary of the transition from the core to the periphery is not clearly traced. In addition, the lexico-semantic field is also a way of representing the language world picture, because the cultural features of the language of any nation are primarily reflected at the level of the lexicon - the most dynamic tier of the language system. The term "sanction" in modern Russian language is used not only in the legal, but also in the political spheres, and is also used as a tool for regulating relations between states and international organizations. In the Russian political sphere, lexico-semantic field "sanction" is accompanied by a large number of metaphors used to reveal the conflicting nature of the sanction and the dramatic nature of political life, the semantics and scope of the term, as well as stylistic evaluation, are expanded.

DOI: 10.25136/2409-8698.2022.11.39088

Abstract: The article explores the functioning of usual words and neologisms in the German-language print media discourse as well as in mono- and bilingual dictionaries. Particular attention is given to the lexicographic and contextual translation of the lexemes and the problem of lexicographic underrepresentation of mass media vocabulary. The methods applied include semantic, contextual, discourse and corpus analysis. The article provides examples of potential lexical difficulties which may be faced by a translator or a speaker of German as a foreign language. The academic novelty of the research is due to the unique lexical material presented in the article, which is either absent in dictionaries or has an incomplete lexicographic explication or translation. The translation of these lexemes should not be verbatim and literal, as the translator must take into account extralinguistic realities, linguistic and cultural aspects of word semantics and that of a particular discourse type, collocation and usage of lexemes in the original and the target language. For instance, the translation of international terms is often reduced to loan translations (calques) that require an explanation or translation commentary. The article concludes that there is a need for linguistic, linguacultural and extralinguistic analysis, which has to be conducted by a translator or a reader of a text in a foreign language. The data obtained by the research can be used in translation, lexicographic and teaching activities.