Abstract: In modern humanities the range of issues, related to manifestations of intertextuality in texts of different language systems, their interpretation by the recipient, as well as the use of intertexts by authors of verbal and non-verbal texts, is still of great interest to researchers. Moreover, the intertext plays a significant role in modern text-creating. This makes important studying the structural characteristics of intertextual units with the aim of developing the technic of creation one’s own intertexts as well as translating intertexts of others. So, the object of the present research are the intertextual units in the postmodernist writings, the subject are their linguistic characteristics. As the material the author has chosen the fiction by Julio Cortázar, which is particularly reach in intertexts. In order to delineate the existing definitions of intertextuality according to the “broad” and “restricted” approaches and precise our own vision of this phenomenon the author applied the methods of the cognitive sciences and semiotics. The general linguistic methods, such as description and observation, have been used in the analysis of the structure of the chosen intertextual units. The scientific originality of the research consists in the description of the linguistic particularities of different types of quotes in Cortázar’s fiction. During the analysis, quotations based on literal reproduction of the original format of the intertextually borrowed saying and citations that change it have been defined. The author pays particular attention to the analysis of the attribution, considered the key structural component of an intertextual unit. The results of the research may form the basis of the further researches of the linguistics of intertext. It may also be of practical interest to the authors using intertextual units in their own texts, as well as to translators of Cortázar’s and other postmodernist writers’ fiction.

Keywords: quotations, intertextual unit, fiction writing, Julio Cortázar, postmodernism, intermediality, intertext, intertextuality theory, allusions, linguistics

Abstract: The article is devoted to the ideographic and semantic characteristics of phraseological units. The subject of the study is the phraseological units of the Russian, Ukrainian and Crimean Tatar languages, denoting deviant human behavior.The purpose of the article is to identify from the phraseological composition of the Russian, Ukrainian and Crimean Tatar languages a group of phraseological units, the common semantic feature of which has an extralinguistic nature (all of them denote deviant human behavior), and to describe the semantic features of these phraseological units, taking into account the achievements of modern phraseological and psychological sciences. The scheme of ideographic classification of the language proposed by Professor Y. F. Pradid and tested in the works of his students was used in the work. The ideographic classification has the following structure: synonymic series → semantic group → semantic field → thematic group → thematic field → ideographic group → ideographic field → archipole. Two thematic groups are distinguished in the thematic field of phraseological units "Deviant human behavior": "Criminal human behavior", "Criminally non-punishable (non-contrary) immoral human behavior".   The theoretical and methodological basis of the research was the works of domestic and foreign scientists in the field of phraseology and psychology. A descriptive method was used when writing the article. The scientific novelty of the research is determined by a comprehensive approach to the analysis of the complex mechanism of the phraseological microsystem "Deviant human behavior" in Russian, Ukrainian and Crimean Tatar languages. The complex application of ideographic and semantic aspects allowed us to obtain new results regarding the essence and semantic organization of this layer of phraseological units, the place of the phraseological microsystem "Deviant human behavior" in the structure of the phraseological system of the Russian, Ukrainian and Crimean Tatar languages. The ideographic and semantic analysis of phraseological units combined into the phraseological microsystem "Deviant human behavior" gave grounds to conclude that the structure of this thematic field corresponds to the categorization of deviant behavior presented in psychological science. The analysis of phraseological units denoting deviant human behavior will contribute to further linguistic research of phraseological ideography, the development of a general typology of research methods for phraseological microsystems in ideographic and semantic aspects.

Keywords: synonymous series, semantic field, thematic group, deviant human behavior, phraseological unit, Ukrainian language, phraseological microsystem, ideography, Russian language, Crimean Tatar language

Abstract: This article is devoted to the linguistic and cultural description of the national personality in Russian and Chinese. The subject of this study is the Russian and Chinese language personality. The object represents national cultural similarities and differences. Russian National personality (RNL) and Chinese national personality (CNL) are studied on the basis of phraseological units, proverbs and sayings of the Russian and Chinese languages, which reflect the concept of "property", the purpose of the study is to identify universal, national-specific and typological linguistic and cultural features of the Russian national personality (RNL) and the Chinese national personality (CNL). The practical significance of the work lies in the fact that the linguistic and cultural analysis of phraseological units, proverbs and sayings devoted to property can be used in educational activities in courses of linguistic and cultural studies. The provisions and conclusions of the study can be applied in lexicographic practice in compiling dictionaries of phraseological units, as well as in the practice of teaching Russian as a foreign language, spreading Chinese culture in Russia. To solve the problem, the following research methods are used: the method of continuous sampling of material from dictionaries of the Russian and Chinese languages, the method of thematic classification and systematization of linguistic material, the method of linguistic and cultural commentary and the comparative-contrastive method. The article for the first time considers the problem of Russian and Chinese national personalities, which had not previously been described in the linguistic and cultural aspect, analyzes for the first time the essential monetary values of RNL and CNL, indicates their stereotypical ideas and attitudes towards money, poverty, wealth, benefit, greed and debt. This is the scientific novelty of this study. The research shows that phraseological units, proverbs and sayings with the concept of "property" recorded in Russian and Chinese lexicographic sources differ in quantity and content. Russian and Chinese personalities view the representation of property in different ways. Unlike the Russian people, who pay more attention to the spirit, feelings and emotions, the inner world of the individual, rather than money and material well-being, the Chinese people are characterized by a consciousness of wealth, greed, a commercial streak and a desire for profit. Both RNL and KNL are distinguished by such spiritual characteristics as thrift and economy. They are not characterized by extravagance.

Keywords: cultural values, character traits, Sayings, Proverbs, Phraseological Units, Concept of property, Chinese national personality, Russian national personality, linguoculturology, dominants

Abstract: The subject of the research of the article is the general features and specific features of the translation of horror discourse filmonyms from English into Russian and German. The object of the study is the original English-language and translated Russian- and German-language filmonyms of horror discourse. In our work, we will be interested in strategies and techniques for translating English-language horror discourse filmonyms, since the horror film genre is one of the most popular at the moment, and a large number of films are being released in English. When translating movie titles, a translator faces a number of difficulties and must solve them by choosing a translation technique and strategy. Often, the translation of a filmonym is accompanied by a shift in its leading function, or a change in the type of filmonym according to the peculiarities of its perception by the viewer. The work uses the continuous sampling method, comparative linguistic analysis of parallel filmonyms, as well as quantitative data processing methods. The research material was a sample including 150 original English-language horror-discourse filmonyms and their translation options into Russian and German. The scientific novelty of the study lies in the fact that the features of the translation of film names are studied in a comparative aspect using the example of Russian- and German-language horror discourse based on the material of the titles of films released over the past two decades. A methodology is being developed for a comparative study of the features of translating film names into different languages. As a result of the analysis, it was concluded that the domestication strategy of filmonyms is high-frequency; for German-language translated filmonyms, the use of a forenization strategy is much more typical. A feature of the German film distribution is the high frequency of combining two translation strategies, when the first forenized part of the filmonym is combined with domestication in the second part of the movie title after the dash sign. Due to the fact that German translated film names undergo less transformations, they are less characterized by a functional shift compared to translated film names in the Russian film distribution. When translated into Russian, preference is given to tonal-type filmonyms, which corresponds to the peculiarities of the horror genre.

Keywords: forenization, domestication, pragmatic aspect of translation, translation audience, horror discourse, filmonym, translation technique, translation strategy, translation, adaptation

Abstract: The subject of the study is to identify the syntactic characteristics that form the syntax features of the literary works of Russian literature of the XIX century. During the research, similarities and differences of syntactic units of the originals and translations of the novels "Anna Karenina" and "Poor People" were established, as well as the national specifics of their structural, grammatical and functional semantic organization were analyzed. The purpose of the study is to identify the syntactic characteristics that form the syntax features of the literary works of Russian literature of the XIX century. To achieve this goal, a comparative analysis of the original novels by L.N. Tolstoy "Anna Karenina" and F.M. Dostoevsky "Poor People" and their translations into English, made by K. Granett in 1901 and S.D. Hogarth in 1867, respectively, was carried out. The comparative method made it possible to establish similarities and differences of syntactic constructions in the originals of the novels "Anna Karenina", "Poor People" and their translations. The method of linguistic analysis makes it possible to identify syntactic constructions and linguistic units characteristic of literary texts of the XIX century. By means of the contextual analysis method, the dependence of the meaning of these units on the context is analyzed. Within the framework of the study, similarities and differences of syntactic units of originals and translations of the named literary texts were established, as well as the national specifics of their structural, grammatical and functional semantic organization were analyzed. The scientific novelty of the work lies in the fact that for the first time an attempt was made to systematically describe syntactic features based on the texts of works of the XIX century written by different authors. The results and materials of the research can be used in the training of specialists in the field of translation, in teaching linguistic disciplines, as well as in the development of theoretical materials on the theory and practice of translation, intercultural communication, syntax, stylistics and linguoculturology. When comparing the originals and translations of novels, cases were identified when the emotional emphasis laid by the author is shifted or lost in the English-language text. One of the reasons is the discrepancy between the grammatical norms and structures of the Russian and English languages.

Keywords: simple sentences, truncation, structural incompleteness, parcelling, language repetition, translation techniques, translation, syntactic characteristics, complex sentences, comparative analysis

Abstract: The article presents the artistic perception of Chinese culture in the Russian literature of the XIX – early XX centuries. The author sets out to show a generalized image of China in the works of Russian prose writers and poets in a given historical period of time. The relevance of the research lies in the increased interest of modern linguistic science in the problems of intercultural dialogue. It is noted that the study of Chinese subjects in Russian literature is of indisputable interest for understanding the peculiarities of intercultural communication between Russia and China. The multifaceted Chinese culture is revealed through the eyes of Russian writers of the past centuries, who were attracted by Chinese images, plots, and motives. The history of Russian-Chinese relations is traced in the mirror of advanced Russian culture of the XIX – early XX centuries. The tendency to understand China as a unique civilization distinct from the European one, which had already emerged at that time, stands out. It is stated that the substantial development of ideas about China in Russian literature, at the time interval of interest to the researcher, is directly related to the emerging socio-political situation in the Russian Empire, the emergence of alternatives, both in terms of determining the further vector of social development, taking into account the problem of "West – Russia – East", i.e. the emerging situation of internal choice, self–determination and awareness by the ruling circles of the urgent need to work out a further path for the development of Russian statehood, taking into account the borrowing, on the one hand, of the Western, on the other – of the eastern model. This, in the author's opinion, explains the interest of representatives of Russian literature in the culture of the East, spiritual and moral values, philosophical reflections on the nature of goodness and justice, which had a centuries-old tradition in China.

Keywords: Russian-Chinese cooperation, Russian symbolism, Eastern culture, Russian culture, Chinese motifs, image of China, Chinese context, Silver Age, Russian literature, sociocultural differences

Abstract: The subject of the study is the metaphor-personification involved in the creation of V.G. Korolenko's Siberian short stories. The research material was metaphors-personifications extracted by the continuous sampling method from the stories "Makar's Dream", "Sokolinets", included in the Yakut cycle of Siberian stories. The appeal to the metaphor-personification is justified by the fact that it plays a huge role in the construction of an artistic work. V. Korolenko's stories represent a rich material for research, as he developed his own individual author's metaphors based on impersonation. Metaphorization based on personification is a kind of creative handwriting of Korolenko. His works are rich in artistic means of expression, such as metaphor, personification, comparison, metonymy, hyperbole, which gives him a special original author's style.   The methodological and theoretical basis of the research is the work of G.N. Pospelov, A.B. Esin, L.S. Kulik. The work also takes into account the main theoretical works of leading modern Yakut scientists: O.I. Ivanova, K.I. Platonova, I.S. Yemelyanov. Creativity Korolenko is of great interest among modern researchers. Many aspects of his work in literary criticism have already been studied. But in this study, the authors make an attempt to study the functioning of metaphor-personification in his Siberian stories, in particular, in the Siberian stories (Yakut cycle). During the study, it was revealed that V.G. Korolenko skillfully uses the technique of anthropomorphism in his stories. With the help of metaphor, personification and other artistic means of expression, he enlivens and humanizes nature. Korolenko always serves as the personification of the forces of nature to reveal a person’s state of mind, thoughts and feelings. Thanks to metaphor-personification, the world around us comes to life. Thus, the lines between the animate and inanimate world are erased.

Keywords: comparison, metonymy, stylistic tropes, anthropomorphism, personification, metaphor, Siberian stories, Korolenko, russian literature, hyperbola

Abstract: The subject of the research in this article is Margaret Atwood's literary game, which includes work with myths, world history and literature. Margaret Atwood (b. 1939) is a well-known modern Canadian writer, poet, literary critic and critic. Her works include the novel The Handmaid's Tale (1985) and its sequel, The Testaments (2019), as well as the fantasy trilogy The Mindless Addam (2003-2013). No matter what M. Atwood writes about, her works are always a story, a complex and multilevel narrative, in the center of which stands the figure of the narrator. Having begun her literary activity in the heyday of postmodernism, M. Atwood combines many features of this trend in her work: literary play, rethinking archetypal images and traditions, deconstruction. Taking as a basis the achievements of foreign and domestic researchers of M. Atwood's work, as well as research in the field of literary studies by M. Atwood herself, we describe how M. Atwood studies, analyzes and recreates well–known patterns on a new basis – in Canadian literature. The main conclusions of the study are: 1) Being a representative of young Canadian literature without a well-formed cultural and literary layer, M. Atwood borrows from the global literary tradition, as well as mythology and folklore, heroes and images that she seeks to "instill" on new Canadian soil. 2) M. Atwood's deconstruction is not the destruction, analysis of an established tradition, but, on the contrary, an attempt to create it through appropriation and assimilation of other people's traditions. 3) M. Atwood, as a rule, takes ancient Greek and European myths and fairy tales as a basis. 4) Working with the characters of wandering plots and textbook works (Shakespeare), M. Atwood often resorts to overturning the established idea of characters, creating doppelgangers and "werewolves".

Keywords: unreliable storyteller, literary character, archetype, folklore, myth, literary game, Canadian identity, Canadian literature, Margaret Atwood, doppelgänger

Abstract: The subject of the study is the texts of literary monuments of the XV – XVI centuries. The object of the research is the author's strategies, which are studied from the perspective of two modern areas of science: cognitive and pragmatic linguistics.The audience's reaction to the author's conviction is determined by the communicative factors of the impact of speech on the reader's consciousness and is determined by the vital connection of language and thinking. Therefore, the issues of speech impact (a pragmatic problem) and cognition in natural language (a problem of cognitive linguistics) should be considered in synthesis. This approach, according to the authors, makes it possible to study the subject side of the study most fully and achieve the goals set.The purpose of the study is to consider the possibility of classifying the speech units of texts of literary monuments of the XV – XVI centuries from the standpoint of the synthesis of cognitive and functional-pragmatic ways of studying the text.The tasks are to substantiate the possibility of synthesizing linguistic-cognitive and functional-pragmatic methods of studying author's strategies, as well as the classification of speech units of the text of monuments of the XIV – XVI centuries according to the author's strategies. The research methods are conceptual analysis and functional diagnostic method of pragmalinguistics. The ability to categorize concepts allows you to cluster them based on certain similarities and present them as units (clusters) based on the main feature. The functional nature of the choice of units acting as influencing tools that form the reader's attitude to the text, the author, the ideas of a particular author or a group as a whole. The novelty of this work lies in the possibility of combining the approaches of cognitive linguistics and functional pragmalinguistics to the study of author's strategies, which has not been widely practiced by researchers before. The achieved results allow us to conclude that this synthetic approach can be applied to research in the field of textual psychology, author's strategies, the author's speech image, and speech portraiture. The strategies identified in the texts act as clusters of concepts, which in turn constitute the main functional and pragmalinguistic tools that implement the author's intentions and ensure the perlocative effect of the text. The cognitive-pragmatic component of the author's impact strategies is structured mainly around the ideological and religious struggle. In second place are public– and private-business relations, which often mix into a single conceptual and pragmatic space.

Keywords: medieval literature, author's intentions, perlocative effect, speech units, speech portrait, Cognitive linguistics, ancient Russian texts, concept analysis, author's strategy, functional pragmalinguistics

Abstract: The subject of psycholinguistic research is the formal signs of spontaneous sounding speech of the speaker in conditions of emotional tension. In our opinion, indicators of emotional tension of speech in perception are, first of all, formal means of sounding speech at the level of rhythm, tempo, speech failures, which are in relation to complementarity with the semantic content of the phrase and signal the degree of tension of speech. Thus, the state of emotional tension is transmitted by a complex of formal signs of sounding speech. As an example of the psychological factor of emotional tension, we considered court hearings in criminal cases. The object was audio recordings of spontaneous sounding speech of native speakers of the Russian language in a situation that determines the state of emotional tension of the speaker. The novelty of the research lies in the use of qualitative experimental methods in the analysis of spontaneous sounding speech in a situation of emotional tension. Obtaining objective results becomes possible on the basis of auditory linguistic analysis, which allows with a certain degree of reliability to assess the emotional state of the speaker (deviation from the norm, anxiety, tension, the presence and type of emotions, for example, excitement, surprise, fear / anger, etc.), psychophysiological state (abnormality, the presence of pathology), finally, establish boundary criteria for determining a stress disorder for a particular mental type. Of particular interest is the appeal to the psychological typologization of the personality of K. Leonhard, which makes a reliable analysis not only of the characteristics of the character (the so-called psychological phenotype of the personality), but also of his temperament (the psychological basis of the personality).

Keywords: speech failures, the pace of speech, rhythmic group, sounding speech, formal signs of speech, mental accentuation of personality, emotional tension, stress, auditory analysis, tempo-rhythmic signs

Abstract: The subject of the research in this article is the narrative strategy of life description in the work of Margaret Atwood. Margaret Atwood (b. 1939) is a well–known modern Canadian writer, poet, and literary critic. The work of M. Atwood is considered in three main directions: the search for Canadian identity in the works of M. Atwood; the women's question and theories of feminism in the works of M. Atwood and speculative (conceptual) fiction in the works of M. Atwood. It is these three areas that the largest number of scientific papers about the Canadian writer are devoted to. Based on the life and creative path of M. Atwood, these three highways are justified. But behind them, the basis of the writer's work is lost – the narrative structure, to the study of which M. Atwood devoted many of her literary works. Based on the best practices of foreign and domestic narrative researchers, as well as on the research of M. Atwood herself, in this article we describe how a multi-level narrative of biography unfolds in the writer's fiction, implying a division into narrative layers. Each narrative layer is responsible for a certain time: the past, the present and the timelessness. The relevance and novelty of this article lies in an attempt to describe the narratives of M. Atwood, in isolation from the three main paths, and highlight the features of the narrative of the biography, which is key to the author's works. Thanks to the strategy of biography, the Canadian writer explores the nature of human memory, thinking, and fantasy. By placing the main character, the narrator, at the center of the narrative, M. Atwood allows her characters to independently analyze their own actions, their past, which brings her characters closer to real people. The characters of the writer, like real people, have general ideas about how a story should be built, a story and use literary techniques in talking about themselves. But, gradually opening up, the characters are the narrators of M. Atwood turns to a frank conversation, discarding literary decorations. The approach to the work of M. Atwood from the point of view of narrative, narratology helps to open new facets in the work of the famous author, to emphasize and actualize many artistic features of M. Atwood's books. Atwood, who remain in the shadows with a cultural and ideological approach.

Keywords: hero-storyteller, the strategy of life story, the narrative layer, storytelling, an unreliable storyteller, narrative strategy, narratology, narrative, Canadian literature, Margaret Atwood

Abstract: The subject of the research presented in the article is the metatextual function of the titles of Russian memoirs of the XVIII – early XIX centuries. The object of the study is all known and published texts of Russian memoirs of the specified historical period. The author analyzes in detail in this aspect the memoirs of V. V. Golovin, I. O. Ostrozhsky-Lokhvitsky, I. G. Andreev, Y. P. Shakhovsky, I. I. Neplyuev, I. V. Lopukhin, M. V. Danilov, T. P. Kalashnikov, G. I. Dobrynin, P. S. Baturin, etc. authors. Special attention is paid to the analysis of the memoir title as a result of the author's reflection and the author's mark addressed to the reader, reflecting the tendency to individualize the narrative about oneself and the desire of the memoirist authors for a holistic understanding and literary formalization of the text of memoirs. The research methodology is based on the principles of comparative studies and comparative historical analysis. The corpus of the memoirs under study is placed in the general cultural context of the epoch, which allows us to talk about the principles of formation and development of Russian memoiristics in the XVIII century. The memoir titles reflect which aesthetic and value paradigm the memoirist was oriented towards when writing about his past. The novelty of the research lies in the fact that for the first time the memoir title is considered as the main element of the meta–text ensemble "title – preface – epigraph - afterword". The genre nomination necessarily present in the memoir title (notes, chronicle, novel, life, life) is understood as a sign of the memoirist's cultural and literary self-identification aimed at a potential reader. The article identifies the following trends: orientation towards the ancient Russian cultural and genre tradition, the influence of the educational and classicist paradigm and attitudes dictated by the influence of sentimentalism and the genre of the novel. A systematic analysis of more than fifty works of Russian memoiristics allows us to conclude that the defining role of the genre nomination in the composition of the memoir title is for the author to choose a narrative model, an angle of the image of events and characters, leitmotifs and principles of plot organization. Compilation and analysis of the repertoire of titles of memoir works of the XVIII – early XIX centuries allow us to conclude about the principles of formation and development of Russian memoiristics as a whole.

Keywords: sentimentalism, classicism, the educational paradigm, ancient Russian cultural tradition, metatext, The title, memoirs, novel, genre nomination, the author's mark

Abstract: The subject of the research is the search for the optimal method of analyzing deep structures using frame semantics. The study of semantic roles, similarities and differences in the approaches of both C. Fillmore and B. Levin – M. R. Hovav make it possible to analyze the structure of a sentence in more detail and accurately, identify deep cases and determine semantic relations between words. The study of these aspects is key to understanding language constructs and their interpretation. The study of various approaches makes it possible to identify both common features and unique features, which is key for a complete understanding of language constructions. An interest in text analysis in the field of artificial intelligence, machine learning and computational linguistics, and an understanding of the semantic relationships between words will help create more accurate and efficient text processing algorithms. One of the research methods is the semantic analysis of sentences based on corpus data. This method includes the study of various linguistic constructions in the context of their use in real texts, which allows us to identify common patterns and rules for the use of these linguistic units in different situations. The scientific novelty of the study lies in the fact that the authors have determined the similarity of the approaches on how to understand the surface and deep structures of language of Ch. Fillmore and B. Levin and M. Rappaport. Their work, despite differences in methodology and terminology, together allow for in-depth investigation of the relationship between the meanings of verbs and the structure of arguments. As a result of the study, the natural relationships between deep cases and semantic roles in sentences of various types are revealed, and key points that need to be taken into account when analyzing deep structures for a more accurate definition of the semantic roles of arguments are highlighted: frame semantics and thematic grids. Disagreements and alternative points of view contribute to the constant development and improvement of linguistic theories. Such debates eventually lead to a deeper understanding of the implementation of the arguments and open up opportunities for further research in this area. Both C. Fillmore and B. Levin and M. Rappaport have made significant contributions to understanding the surface and deep structures of language, although their approaches and terminology may differ.

Keywords: corpus, natural language, artificial intellect, case grammar, implementation of arguments, frame semantics, generative linguistics, deep case, syntactic structure of language, thematic roles