Abstract: This paper examines the reflection of the representatives of Cubo-futurism and related art community (N. Kulbin, A. Kruchenykh, N. Burliuk) on the artistic expression and poetics of literature. The object of this research is the articles by N. Kulbin (“Liberal Arts as the Basis of Life”, “Meaning of the Theory of Art” in compilation “The Studio of Impressionists”, 1910), pamphlet “Declaration of the Word as Such” (written in 1913 by N. Kulbin, A. Kruchenykh), manifest of N. Kulbin “What the Word Is” (1914), articles by N. Burliuk (“Cubism”, “Texture” in compilation “Slap to a Public Taste”, 1913, “Poetic Beginnings” and “Supplementum to a Poetic Counterpoint” from the “First Journal of Russian Futurists”, 1914. The subject of this research is the evident in these articles orientation towards putting medium to the forefront, which is understood as a material basis of the text. The texts of all articles highlight the core metaphors that set a new understanding of a word as material and media whole. The scientific novelty of this study consists in referring to the process of metaphorical comprehension of a word as a material phenomenon, which has not been previously subjected to detailed analysis in Russian or foreign research tradition. The conclusion is made that due to sequential usage of metaphors (from the area of natural sciences or everyday experience) a word becomes a material object, manipulation with the physical image of which transform the connoted meaning.

Keywords: material word, metareflection, intermediality, media-poetics, medium, Cubofuturism, Russian avant-garde, Kul'bin, Kruchyonyh, Burlyuk

Abstract: This article examines the projection of the European metanarrative in postcolonial text on the example of deconstruction of the Christian metanarrative in Keri Hulme’s novel “The Bone People” (1985). The concept of “metanarrative” is described through the prism of literary studies as a criterion for analyzing the evolution of literary process in the era of postmodernism. In postcolonial research, metanarrative has vast theoretical potential and manifests as a dominant code dictated by the European culture as a dominant one, culture of colonized nations, which makes the authors of postcolonial period refer to the method of deconstruction of metanarratives of the former colonialists. Practical analysis is conducted on the postcolonial novel that interpreted such components and the storyline, imagery of the heroes, and paratextual level. The scientific novelty of this study consists in the fact that the literary process in New Zeland as a whole, and works of the representatives of Maori Renaissance in particular, are insufficiently studied by the contemporary scholars. The analysis of deconstruction of the Christian metanarrative in postcolonial text allows making the following conclusions: uniqueness of deconstruction of metanarrative in a postcolonial text is based on application of the counter-discursive strategies, which include reference to the elements of metanarrative, presentation as a part of colonial discursive field, and authorial transformation for inscribing them into postcolonial space.

Keywords: New Zealand, postcolonial literature, dominant code, Christianity, counter-disñourse, postcolonial space, metanarrative, Maori Renaissance, deconstruction, postmodernism

Abstract: The subject of this research is analysis of the tragic and epic in in the story written by Mikhail Sholokhov “Fate of a Man". In development of the theme of national tragedy of the Great Patriotic War, the author describes it as a tragic stage of the circuit of history and existence, connects tragic and epic in composition with the national patriotic position of M. A. Sholokhov, confrontation between a person and fate, conflict of good and evil. The object of this research is to determine the unity of tragic and epic in the story “Fate of Man”, leaning on composition and problematic of the work. The author uses the method of philosophical-religious interpretation, systemic-holistic and structural-typological methods, The novelty of this study consists in the new meaning of the image of Andrey Sokolov through the prism of tragic and epic beginnings. The conducted analysis of the story “Fate of Man” underlines a vast range in life of the people during the time of Great Patriotic War, and identify the story by Mikhail Sholokhov with the epos. The tragic is a part of artistic space, and is characterized by continuity of the world literature traditions. Tragic and epic beginnings emphasize the value of human life, the priority of happiness and peace between the nations.

Keywords: Homeland, Great Patriotic war, humanism, love, epic, death, tragedy of the people, fate, Sholokhov, peaceful life

Abstract: This work gives special attention to examination of precedent name and its connotative meaning in mass media texts. Precedent name is viewed as a result of semantic condensation of the corresponding precedent text and/or precedent situation. The purpose of using precedent name in speech consists in giving a concise and brief characteristic to the subject of assessment through the system of meaningful standards, clichéd images that became an etalon of certain qualities of a person within the framework of the culture, as well as in expressing a subjective attitude that can be negative or positive. In the course of research, the author applies the method of contextual analysis, component analysis and comparative analysis. Precedent name, being the means for preservation of achievements of spiritual culture of the society and conveying ethical and aesthetical norms from generation to generation, simultaneously represents the way of expressing subjective assessment in the atypical context of application, which leads to the extension of its communicative functions and emergence of potential (and eventually realistic) secondary meanings, as well as reflects a dynamic situation of a cultural linguistic community.

Keywords: characterizing function, nominative function, the language of media, word-symbol, connotation, precedent name, precedent phenomenon, axiological relation, Buratino, Cheburashka

Abstract: Despite the fact that youth jargon in a certain way reflects the worldview of young people, the Russian linguistics did not dedicated due attention to this question. At some point, significant contribution to the research of this problematic was made by the experts in linguistics such as A. M. Selischev, E. D. Polivanov, M. A. Grachev, V. M. Mokienko, etc. However, there are still gaps and multiple controversial issues in studying this phenomenon. One of them pertains to terminological definition of this concept, since there is no evident characteristics and properties that allow to clearly differentiate it from other linguistic phenomena, such as argot, slang, dialect, sociolect. There is also no unified system of dictionary noted for lexicographic fixation of jargon units, as well as systematized description for youth jargon in various Russian regions. Youth jargon represents rich material for linguistic analysis, since it has diverse lexical composition – alongside multiple neologisms and foreign borrowings, it contains a significant portion of archaic lexicon. Examination of jargon reveals certain mechanism of word formation, uncommon for the standard lexicon. Knowledge and application of such lexicon is essential for better understanding of the modern fiction literature and periodicals, modern colloquial, translation activity, as well as social differentiation of national language.

Keywords: communicative process, substandard stratum, literary language, slang, argot, youth jargon, the Russian language, word formation, language game, social dialect

Abstract: The subject of this research is the problem of word formation in the Crimean Tatar language. The object of this research is the synonyms in the Crimean Tatar language. Synonyms contribute to clarity of expression of one or another meaning, enrich the literary language and enhance its expressiveness. The goal of this work consists in examination of word formation capabilities in the Crimean Tatar language as a source of synonymy. An important question for understanding the nature of synonymy in lexical-semantic composition of the modern Crimean Tatar language is the questions on the factors of the emergence of synonyms. In the Crimean Tatar linguistics, this question requires a detailed examination. The novelty of this research lies in the analysis of word formation as a source of synonymy. A conclusion is formulated that the lexicon of Crimean Tatar language is being enrich mostly due to the word formation. The rich word formation capabilities of the language allow creating a wide variety of derivatives based on the existing patterns. The skill of using the word formation capabilities of the language significantly enriches the speech, allows to create lexical and semantic neologisms, expands synonymy of the language. Word formation is one of the source of synonymy.

Keywords: word structure, synonymic series, synonymy, semantics, vocabulary, affix, Crimean Tatar language, word formation, productive affix, unproductive affix

Abstract: The subject of this research is the F. Mauriac’s novella “The Lamb” viewed from the perspective of impact of Dostoevsky’s novel “The Idiot” upon it. The goal is to establish and describe the coincidences and similarities between the texts on the level of poetics of the plot and literary details, as well as methods of creating the characters and psychologism, interpreted by Mauriac as conscious borrowings. The author attempts to determine the key points of the religious-philosophical polemics between Dostoevsky and Mauriac. The focus of this research is the central for Mauriac’s novel and just one of the difficult themes in Dostoevsky’s novel question of the atoning sacrifice of a beautiful, “Christ-like” person. The main conclusion consists in the fact that Mauriac structures the protagonist’s storyline leans on the impossibility for Dostoevsky’s heroes to resolve the question on reasonableness of the atoning sacrifice: if “The Idiot” ends with a tragedy and total fiasco of a positive and beautiful character, whose sacrifice became deleterious, the sacrifice of Xavier became salvific and filled with sacred meaning. At the same time, the visible artistic reality and harmoniousness of Mauriac’s creation is possible due to simplification and unification of problematic of the Russian precedent text.

Keywords: artistic detail, expiation, sacrifice, Christ, Christianity, Mauriac, Dostoevsky, belief, confession, borrowings