Abstract: The subject of the study was the specifics of the image of the funeral rite in the works of Lermontov. The object of research is the novels "Vadim", "Hero of our time", poems "Demon", "Sashka", drama "Masquerade". The author of the article examines in detail the plot-compositional role of the funeral rite, the ways of its inclusion in the work, reveals the problem of the perception of death by the heroes, clarifies the nature of Lermontov's interaction with the folklore tradition. The article uses biographical, comparative-typological methods, the method of theoretical poetics, as well as methods of motivic and mythopoetic analysis of a literary work. The author of the article revealed the reasons for the inclusion of the funeral rite in the works, showed the attitude of Lermontov's heroes to death. The main conclusions of the study are the following: the funeral rite is the most frequent in Lermontov, which is explained biographically by the early loss of his mother. Scenes of funerals and burials are found in works of different genres, this determines the ways of their representation. In prose, the funeral rite is most often given in the form of a memory, while Lermontov is psychologically reliable, takes into account the peculiarities of memory, he places special emphasis on the perception of death by a child. Lermontov's funeral rite is associated with a female character, the funeral rite is often preceded by a wedding ceremony. The death of the heroine is interpreted as a return to her native land ("Bela") or the acquisition of eternal life.

Keywords: autobiography, traditional culture, poetics, Sasha, Demon, Vadim, The hero of our time, folklore, funeral rite, Mikhail Yurievich Lermontov

Abstract: The article analyzes the features of the functioning of analogy in socio-scientific texts based on the material of public lectures on history. Analogy is considered as a linguocognitive phenomenon and a rhetorical device. The purpose of the article is to study the functions of analogy in the structure of a public lecture, the features of its use in describing historical events. The research methodology is based on general scientific methods of description, interpretation, comparison and classification, and highly specialized methods of component and stylistic analysis are also used within the framework of communicative-pragmatic, functional-semantic and linguocognitive approaches. The object of the study is the representation of analogy as a way of processing objective information, as a means of interaction with the audience and as a component of the linguistic worldview of the lecturer's personality. The subject of the study is the mechanisms of implementation of the analogy, its structural and stylistic specificity and functional characteristics. The novelty of the research consists in the application of the comparative aspect in the study of the general features of the use of analogy on the material of historical materials. It is concluded that the use of analogy depends on the scope of application to a greater extent than on the peculiarities of the lecturer's linguistic personality. Using the example of the analysis of the corpus of public lectures, it can be concluded that the use of techniques in a public lecture is standardized, and the methods of logical construction of scientific presentation, which are one of the features of the scientific style, are combined with expressiveness and clarity in this genre. The variation of stylistic means depends not only on the goals of communication, the peculiarities of addressing, but also on the specific linguistic personality and the nature of the content of the lecture. The range of ways to attract attention and activate interest in the proposed problem is expanding, which leads to the use of expressive means that are not characteristic of the scientific style proper, realizing the author's communicative goals.

Keywords: historical metaphor, historical analogy, addressee, dialogization, scientific metaphor, public lecture, precedent, traduction, analogy, prototype

Abstract: The subject of the study is the intertextual dialogue of the "Poem without a Hero" by A. Akhmatova with texts by Robert Browning: the poetic diptych "Porphyria's Lover" and "My last Duchess". The object of the study is the counterpoint of the pretext and subtext of English literature in the multilayered and polysemantic text of the "Poem without a Hero", to which Akhmatova herself attributed the "triple bottom". The authors consider in detail the overlap of the motives of Browning's poems with the text of the "Poem without a Hero" and demonstrate the systemic "mirroring" of the reflection of situations: the complexes of the motives of the Browning diptych in Akhmatova are inverted. Particular attention is paid to the issues of various interpretations of the text of the poem "Porphyria's Lover" and related interpretation options for individual scenes and fragments in the text of the "Poem without a Hero". The main conclusions of the study are the establishment of an unambiguous semantic connection of the "Poem without a hero" with two Browning poems. The research methods include comparative-historical and intertextual. A special contribution of the authors to the study of the topic is the substantiation of the trace of Robert Browning's diptych in the text of "Poems without a Hero": traditionally, another work of Browning is indicated among the sources of the poem. The novelty of the research is determined by the involvement of new material and the proposal of a new reading of Akhmatova's self-identification as "anti-Browning". These words should be deciphered not only by projecting the relationship of the Browning and Barrett pair onto the Gumilev and Akhmatova pair, but also as a reference to the mirror reversal of the situations described by Browning in the dramatic monologues of the diptych.

Keywords: allusion, mirror writing, intertext dialogue, counterpoint, subtext, pretext, reminiscence, Browning, Akhmatova, policitation

Abstract: The object of research in this article is the mystery play "Lisa", as well as the ideologically related "Blokovskaya" hoax "Soldier's Tale" and the story "Arakcheevskaya joke". The purpose of the work is to identify the Pushkin context in the play "Lisa", to clarify the nature of B.A. Sadovsky's perception of the Pushkin tradition. The author examines in detail such aspects of the topic as the evolution of B. Sadovsky's perception of Pushkin's personality and his work, designates Pushkin's contexts in the mystery play "Lisa". The appeal to this work is motivated by Sadovsky's use of the image of the Pushkin era without mentioning the poet's name. The article uses comparative typological, biographical methods, as well as the method of intertextual analysis. A special contribution of the author is a study of the unexplored work of B. Sadovsky, which makes it possible to significantly clarify the nature of his creative evolution, to highlight the features of the writer's worldview in the post-revolutionary period. In the course of the analysis, the author comes to the conclusion that genetically the play "Lisa" is connected with such works as "The Arakcheev joke" and "The Soldier's Tale", written from anti-Bolshevik positions. It is proved that the concept of Arakcheev's personality in them is determined by Pushkin's judgments about Arakcheev, expressed on the pages of the Diary of 1833-1835 and in a letter to his wife (April 20-22, 1834). The study was carried out as part of the preparation of the scientific edition of the complete works of B.A. Sadovsky.

Keywords: creative dialogue, hoax, story, the Pushkin era, tragedy, Alexander Sergeyevich Pushkin, mystery play, Boris Alexandrovich Sadovskoy, the writer 's worldview, silver age literature

Abstract: Colour terms are a significant group of lexical units of any language. The article is devoted to the identification and the description of lexical units that explicitly express colour or include implicitly transmitted semes of colour in the novel by the German writer L. Feuchtwanger «The ugly duchess». The author believes that colour terms, accumulating national-cultural stereotypes and ideological meanings of the linguistic community, reproduce fragments of reality and the artistic concept of the world in the text. Using various connotations of colour meanings, L. Feuchtwanger solves two tasks in the novel: colour-description creates a unique poetics of the work, and color-characteristic reveals its main idea. The linguistic representation of colour terms in this novel allows us to understand the writer's idiostyle and the cultural meanings of his work, the peculiarities of the colour perception in the German linguoculture. Since the colour-description in the analyzed novel has not been researched yet, this determines the novelty of this work. The results of the research allow us to assert that the dominant coloratives that define the writer’s idiostyle are shades of blue, gray, white, black, red and brown, i.e. the basic palette of colours. It is worth noting that there are relative more lexemes in the novel that express colour explicitly. The significance of this research is determined by the fact that it contributes to further development of stylistics, linguoculturology and intercultural communication, and can be used in teaching German in higher educational institutions.

Keywords: language picture of the world, fiction text, color description, german literature, explicitness, implicitness, coloratives, classification of color terms, idiostyle, language representation

Abstract: Semantic derivation is a way of word formation, as a result of which the semantic structure of lexemes, including somatisms, expands. The article examines the similarities and differences of the somatism "hand" in the Crimean Tatar and Turkish languages. With the help of component analysis, the semantic structure of the "hand" somatism, the types of connections between lexico-semantic variants of the polysemant are considered. The purpose of the article is to study the "hand" somatism in the Crimean Tatar and Turkish languages, analyze the semantic structures of polysemants and identify similarities and differences. The semantic structures of the somatisms "k'ol", "el" ("hand"), "avuch" ("palm"), "parmak" ("finger"), "tarnak" ("nail"), "tirsek" ("elbow"), "bilek" ("wrist"). The analysis revealed a number of similarities in the lexical and semantic composition of multivalued somatisms. The semantic structures of polysemantic lexemes nominating different parts of the hand are largely identical, however, there are some differences. The main ways of formation of lexical meanings were determined. Thus, in the Crimean Tatar and Turkish languages, secondary meanings are formed by metaphorical, metonymic and functional transfers, which is due to the similarity of appearance, color, quality, functions, etc. Lexico-semantic variants formed as a result of semantic derivation are interconnected by radial, catenal and radial-catenal types of connections.

Keywords: Crimean Tatar language, semantics, paradigm, lexico-semantic variant, semantic structure, polysemy, polysemy, somatism, token, Turkish language

Abstract: In the article, the author, relying on the definitions of "language consciousness" and "language personality", presents a number of existing dangers for Russian teenagers and at the same time a wide range of opportunities for manipulators to reformat these categories in teenagers. The influence on the formation of the language consciousness and the language personality of a Russian teenager through social networks can partially "correct", and sometimes radically change the perception of reality by a teenager already familiar to him. This can happen for him imperceptibly, through the introduction of ideas, images, associations, stereotypes necessary for the manipulator into his consciousness. Subject of research: the influence of social networks on the process of formation of the linguistic consciousness of an individual, his formation as a linguistic personality in the complex process of his socialization. The following methods were used in the research process: 1. descriptive, as well as a method of analyzing scientific theoretical literature on the topic under study and information posted on the Internet; 2. the method of diachronic analysis of the process of the emergence and development of social networks on the global Internet;3. quantitative method (method of counting views in social networks); 4. comparative method (comparison and analysis of information obtained in the process of studying the communication of adolescents in social networks). The novelty of the study consists in the analysis of modern methods of effective influence of the manipulator on the reformatting of the adolescent's consciousness through the latter's participation in communication in social networks, which will undoubtedly force the teenager and the adult participant of well-known social networks to pay attention to the possible, often well-camouflaged, but at the same time noticeably aggressive informational and psychological impact on the adolescent's consciousness through the information received by him through the global Internet and social networks. The process can take place at three levels, and the degree of its success is proposed by the author to evaluate according to a number of criteria.

Keywords: social network, perception, danger, influence, information, linguistic anomaly, teenager, manipulation, language personality, language consciousness