Makarova Olesya S.

This article is about semantically introductory words expressing confidence and degrees of confidence found in the works by English classical realists of the 19th and 20th centuries. The purpose of the article is to study the British linguistic culture, lexical-semantic, sociocultural and ethnic characteristics reflected in literary texts, as well as to make a list of introductory words with conceptual meanings for further semantic analysis. The subject of the study is the English linguistic culture and polysemantic field; the object of the study is the semantics of introductory words in novels authored by English realist classics. The work is based on the diachronic approach of N. Enquist and the global synchronization method developed by J. Firbas. From this combination of synchrony and diachrony, a logical and comparative perception of the signifier and the signified is formed, that is, a theory (assumption) arises. From this contrast, the conclusion is drawn that even the figurativeness of speech itself conveys an inseparable perception of the concept, introductory words and the thesauri of the two sides in a dialogue. Polylogue has a similar significance, but its perception is much more difficult due to the presence of a large number of participants in the conversation. According to Zipf ’s law, the author cannot overload the text with a multitude of personal and demonstrative pronouns, and he must refrain from using the same words and concepts for at least three paragraphs. In addition, it is necessary to adhere to the alternation of various types of communication, viz. coordination, management and adjoining equally. All this allows not only to reveal the style of the author, but also to learn to perceive the literary text as a value-conceptual aspect of a linguistic culture.

This article is devoted to the study of cognitive semantics and semantic features of the missing structure. In the course of the study, a definition of the basic mechanism of the appearance, functioning and disappearance of the missing structure in the superconscious field is given. The significance of the transfer of metacodes and lexicodes through short-term self-destruction of a structure can be traced in the analysis of both literary text and various styles of speech. This significance is not represented by individual elements of the system (in a word, phrase, sentence, etc.), but by a constantly varying unit, however, different from an idiolect, where only numerous deviations do not allow an individual language to arise. This confirms the practical significance of the study: by revealing the most significant concepts that have a value aspect and releasing its conceptual content at the time of the formation of the missing structure, we can determine: the nature of compliance or non-compliance with linguistic norms (clarity, logic, accuracy, correctness of speech), the direction of argumentation, the specifics of thesauri of subjects of communicative interaction, as well as the presence or absence of lexical and semantic barriers to communication. It is also possible to trace the stylistic separation of the language vocabulary into the book and colloquial, as well as distinguish the categories of each, namely: for book vocabulary—terminological, poetic and category of historicisms, and for colloquial—colloquial, dialectic and phraseological. Having examined the tokens of the concept in this way, its entire value with respect to the historical period is revealed. Given the methodology of Umberto Eco, we combine the diachronic approach with the theory of local civilizations of Arnold J. Toynbee and the unconscious theory of Sigmund Freud, which allows us to connect the specifics of the appearance of the missing structure with the category of frames in cognitive linguistics.

This article is devoted to the study of the conceptual, value and archetypal side of the Nart epic, as well as some language material on the side cycles of the Narts. The course of the study is based on an analysis of the cultural concepts and value attractors of Nartiada, which are common to the majority of the linguistic Iberian­Caucasian language family. In order to reveal the linguo­mental complex of representatives of the linguistic world that preceded the emergence of most of the linguistic cultures of the peoples of the North Caucasus, we use both general semantic analysis and cognitive­semantic analysis, while updating the corpus of cognitive linguistics. In studying the cognitive­valency system of some of the heroes of Nartiada, while taking into account the specifics of the poetic text and folklore as a whole, we use the archetypal concept of K.G. Jung in its American variation to simplify the diachronic examination of the language. This approach makes it possible to use concrete examples to show the existence and evolution of concepts in individual languages, e. g. we touch on the specifics of the Ossetian (Ironic), Adyghe, Abkhaz, Chechen and Abaza languages of the Iberian­Caucasian language family. To illustrate the influence of the Nart epic on the Caucasian languages, we use some material from the Abazin language (the Iberian­Caucasian language family) and the Armenian language (the IndoEuropean language family) to show not only the existence and evolution of similar cultural concepts, but also the heterogeneous influence of Nartiades on different language families and language groups. The manifestation of cultural concepts and value attractors is also shown by the example of the nature and actions of the main characters of Nartiade from the cycles: “The Beginning of the Narts,” “Grounding” and the heroic cycle itself. The basis for the study is the linguistic and historical material accumulated by the expert in Caucasian studies T.A. Guriev and culturologist V.V. Ivanov.

This article is devoted to the study of religious and cult-ritual concepts of the Gothic language. In the course of the research, the processing of historical and linguistic material is carried out, which allows us to analyze the GermanGothic mentality, taking into account, first of all, the specificity of the text of the Gothic Bible. In the study of Germanic and Gothic culture, in particular, a deepening into the lexical and semantic component of the biblical text is carried out. The relationship between the main ethnolinguistic features, the GermanGothic linguistic personality and the linguistic picture of the Gothic vocabulary allows us to look differently at the traditions, life and customs that existed in the Gothic culture. Thus, thanks to the classification and analysis of key religious concepts and value attractors that were part of the hierarchical model of the Gothic tribes’ representation of the essence of the world and the place of man in it, we find a reflection of spiritual and cultural life, recorded by Wulfila in the late 4th — early 5th centuries. In the given concepts, there are accompanying passages from the Holy Scriptures, as well as scenes of everyday life, captured in the form of the author’s comments and in translations of the Gospels of Matthew, John, Luke and Mark. Particular attention is paid to the Gospels of Matthew and Luke, since it is in them that most of the author’s “additions” and comments are contained. Translations of the last Epistles of Paul supplement the information received about the life of the Gothic tribes, since they contain direct evidence of a semiotic space in which the cultural and religious concepts of the Germanic and German-Gothic mentality, intersecting in many sociolinguistic aspects, form a single idea of the Gothic linguo-mental complex.

This article examines allusions and the most significant reminiscences found in the works by Joseph Brodsky. In the course of the research, we analyze Brodsky’s quotes, analogies, paraphrases and main references to the works authored by famous Russian and foreign writers, poets and cultural figures. A special place in the article is occupied by Brodsky’s allusions to the poetic activities of Alexander S. Pushkin. The use of allusions and open reminiscences is characteristic of postmodern literature. In Joseph Brodsky’s works, allusions allow one to show the evolution of concepts, heroes, scenes of action, or to look at any social or philosophical problem from the author’s perspective. Open reminiscences are usually combined with paraphrases and pastiches, with a deliberate change in the intention of the author or authorhero. Hidden reminiscences make it possible to create a dialogue between two authors within the framework of a poetic work. The Soviet period of Joseph Brodsky’s creative work is characterized by the presence of a large number of references to Russian poets. Brodsky analyzes the social problems they identified. These problems become the subject-matter of Brodsky’s heroes’ discussions. Within the framework of philosophical reasoning, Brodsky criticizes various aspects of modern society, sometimes Soviet society is directly criticized. The American period is most valuable for determining the nature of the influence of other poets and writers on Brodsky’s legacy. With a detailed study of the author’s poetry, you can see that his work was significantly influenced by such figures as: Homer, Guy Virgil Catullus, William Shakespeare, Johann Wolfgang von Goethe, William Butler Yeats, Robert Frost, Wistan Hugh Auden, as well as Alexander S. Pushkin, Fyodor I. Tyutchev, Ivan S. Turgenev and Afanasy A. Fet. We set ourselves a task of showing the degree of influence of these authors on Brodsky’s work by analyzing the main reminiscences and allusions in his poetry.

This article is devoted to the study of the problems of intercultural communication in the North Caucasian region. The relevance of the study lies in a detailed diachronic analysis of the historical, cultural and ethnolinguistic features of the interaction between representatives of Russian culture and the culture of the peoples of the Caucasus. The aim of the study is a diachronic analysis of the main aspects of interaction between the peoples of the North Caucasus and the Russian Empire, starting from the second half of the 18th century and ending with the problems of present-day intercultural communication. For a comprehensive analysis, the works of Russian historians, sociologists and linguists are used as a reference material in the work, in addition to the diachronic approach, some approaches of foreign cultural scientists are used. The results of the study are reflected in the comparison of the historical, cultural and ethnolinguistic features of cultural polymorphism in the North Caucasian historical and cultural region, carried out using the integration approach of T. Adorno. To maintain the principles of historicism and objectivism, a historical source is used, viz. “The latest geographical and historical news about the Caucasus” by S.М. Bronevsky, contemporary with the events described. Bronevsky not only prepared most of the material on the Russian-Persian, Russian-Turkish and Russian-Caucasian treaties by the beginning of the second stage of the Caucasian War, but also left comments regarding the ethnolinguistic features of the content of these documents. For example, their inconsistency or the incompetence of Russian translators. The historical experience of modern historians I. F. Blaramberg and Yu.Yu. Klychnikov provides further underpinnings. On the basis of the studied material on the 18th and 19th centuries in relation to the southern political direction, a brief description of the modern ethnic and sociolinguistic features of the region is given.

This article analyzes the formation of the diversity of the genre of the series of novels “The Dark Tower” by Stephen King, as well as the clips of Robert Browning’s poem in the predominant image of the Tower of Roland and the connection with these genre transformations. In the course of the study, the authors analyze the series of novels “The Dark Tower” and the poem “Childe Roland to the Dark Tower Came”, in particular, the features of the genres, the compositional and stylistic features inherent in these works. When demonstrating the characteristic features of R. Browning’s and S. King’s creative work, it was found that romanticized fantasy per se includes many genre features that differ from the manifestations of horror and classic fiction: fantasy is a genre in the style of high fantasy and concealment, a fairy tale. At the same time, dark fantasy, although it includes most of the traditional fantasy surroundings, is characterized not so much by the interrelationship between its fantasy elements and the narrative, but rather by the connection between the gothic and the horror types of fiction; there is much less science fiction in dark fantasy than in high fantasy. At the discussion stage, it was determined that the best method for translating the lead when working with two multi-genre works is the comparative method, which is based on a simple principle: “What is it like?” As a result, we came to the conclusion that, on the one hand, the use of a methodological method leads to the fact that in the process of text analysis it is necessary to limit the framework to the conventions of the functional style, the genre uniqueness of the analyzed ones, preserving their artistic orientation and the idiostyle of the author. On the other hand, in this way we get the opportunity to carry out parallel search and optimization of data for its synthesis and translation into the exchange part.

This article analyzes the creative heritage of the American writer Stephen King who has become famous for his works in the genres of horror literature and dark fantasy. In the course of the study, the authors study semantic, functional, structural metaphors, their stylistic and linguocultural features using the example of Stephen King’s stories “The Apt Pupil” and “Rainy Season”. The research methodology is based on a comparative analysis of the original works and translations by Russian linguists S.E. Task, M.V. Opaleva, V.V. Antonov, I.G. Pochitalin, B.G. Lyubartsev, V.A. Weber. The chronological framework of the study covers the period of the conceptualization of Stephen King’s work (translations by S.E. Task and I.G. Pochitalin) from 1991 to the latest experiments in the linguocultural rethinking of the comparative method (translation by V.V. Antonov) in 2012–2013. The main course of the study directed at analyzing the characteristic features of original metaphors and their translation forms, which lose and gain unique cultural features in comparison with the context in English. This approach clearly demonstrates not only the diversity of the author’s idiostyle, which touches on both the mystical-religious and personal feelings of the modern man, but also the acute social problems of modern society. It allows us to trace the emergence of new meanings in translated forms of metaphors. The results of the study show that quite often translators of Stephen King, trying to adapt the text, lose flexibility.