Abstract: This article is devoted to the analysis of the postmodern novel "The Burn" by V. P. Aksenov, a representative of the Russian underground of the twentieth century. The purpose of the study is to identify the peculiarities of the transformation of the mythopoetic image of the "woman-city". A city in the meaning of "fenced place" was necessary for a person to protect himself from danger. Over time, it began to be filled with symbolic meanings, to turn into an archetype — an urban text appears. For V. P. Aksenov, the crossroads where art, history, destinies, friendship, love, creativity converge is Moscow, so it becomes the center of action of many of his works. However, the writer, departing from the tradition of N. M. Karamzin, N. V. Gogol, A. S. Pushkin and L. N. Tolstoy, creates an image of infernal space.   The scientific novelty of the research is seen in the fact that the author analyzes in detail the central image of the practically unexplored novel by V. P. Aksenov, identifies the structure-forming motives for creating the image of the city and the mythopoetic basis, including individual images, situations, characteristics. As a result, the article proves that the mythopoetic image of the "city woman" in the novel "Burn" consists of a sophiological concept (archetype), allegory (fox), metaphor (the whore of Babylon), mythem (Isis, siren, Judas), color painting (eschatological myth of espyrosis) and mythologems (woman-city). In V. P. Aksenov's novel, Moscow is an infernal space, personified by a seductive and dangerous woman — Alice Fokusova.

Keywords: mythologeme, myth, literary tradition, semantic field, archetype, Moscow text, Moscow, Aksenov, image, city ​​woman

Abstract: The subject of the research is the novels of the French writer Andre Gide "The Narrow Gate" and "The Pastoral Symphony". The specificity of the expression of the author's thought in these stories through conceptual antinomies is noted, as a result of which the study of the concepts of BLINDNESS, LOVE, VIRTUE is actualized. The semantic content of the stated concepts is analyzed, which is carried out on the basis of their definitions in dictionaries and biblical texts. Their representatives are observed, creating a semantic field of the concepts of BLINDNESS, LOVE, VIRTUE, introduced by the author into the composition and plot of works and representing the author's interpretation. On the basis of the revealed meanings and antinomy of these basic concepts for every Christian, their function in the stories is revealed. The scientific novelty of the study lies in the fact that the work of A. Zhid from the point of view of the use of concepts is insufficiently studied. The main conclusions of the study are the following. The concepts of BLINDNESS, LOVE, and VIRTUE have a traditional semantic fullness that has developed in centuries-old Christian discourse, but the writer demonstrates the displacement of their evangelical content due to the emergence of new interpretations associated with the spiritual crisis of society. With the help of the introduction of these antinomic concepts into the story, the writer organizes the artistic space of works: they determine the choice of confessional genre, saturation of stories with allusions, reminiscences and intertexts from biblical texts, the use of these concepts to organize the implicitness and explicitness of the narrative. Concepts perform the functions of characterization of heroes, epochs and expression of the author's position.

Keywords: axiological values, Christian concept, confession, intertexteme, interpretation, allusion, nietzscheanism, representations, antinomy, concepts

Abstract: The author explores the expositional discourse and its narrative function in the prose of I.S. Turgenev. The analysis of the lyrical beginning is given as the reason for the special Turgenev exposition, which is a manifestation of the horizons and value consciousness of the author-narrator. It is noticed that it is in lyrical descriptions that the subjective space of the narrator is formed. In Turgenev's prose, there are stories in which the exposition is based on similarities with poems in prose. In such texts, the exposition is only indirectly related to the further development of the plot. It often represents a closed system and functions at the level of metatext and meta-discourse. At this level, the lyrical introduction is designed to affect the spiritual space of the reader. The novelty of the study is given by the conclusions made regarding the cycle "Notes of the hunter". According to them, I.S. Turgenev also has such introductions to the main narrative that do not fit into the "canon". In the stories "Bezhin Meadow", "Date" and others, the exposition implements a specific strategy of the author's narrative. It is as if it is not provided for by the further development of the plot and is a pure product of lyrical and philosophical contemplation of nature. It is a reflection of the subjective perception of the hero-narrator. On its basis, an idea of the world and space belonging to the innermost side of the spiritual personality of the writer is formed. The natural images in the exposition part of the stories are artistically comprehended in the categories of "eternity", opposing the "temporary" plan of human existence.

Keywords: subtext, metadiscourse, narrative, discourse, metatext, function, exposition, lyricism, Turgenev, semantics

Abstract: This article is an analysis of the peculiarities of the linguistic embodiment of the concept of FORGIVENESS in the context of Russian and Avar linguistic cultures based on the material of religious texts and paremias. The analysis is based on a comprehensive methodological approach that includes linguistic and cultural methods of analysis. The linguistic embodiment of the concept manifests itself in a wide range of linguistic means - from words and expressions to proverbs and catch phrases. The specificity of the concept of FORGIVENESS is manifested in a parallel explication of both the reality of the religious picture of the world and the everyday one. The similarities in the representation of the conceptual signs of forgiveness in the compared languages are characteristic of the conceptual component of the concept, the differences are determined by the interpretative and meaningful spheres. The communicative situation of forgiveness is closely related to another situation of repentance, apology. The objects of the situation of forgiveness can be sin, harm, offense, debt. The concept of FORGIVENESS in both linguistic cultures has a purely positive connotation. And it is regarded as something without which life is impossible, meaningless. Forgiveness brings relief both to the one who receives forgiveness and to the one who gives forgiveness. The study showed that the concept of FORGIVENESS penetrates into all spheres of people's lives and makes them seriously think about their attitude to understanding the most important spiritual components of human life. The consideration of concrete examples of the linguistic use of these concepts in speech shows their versatility and high importance in the Russian and Avar linguistic cultures.

Keywords: comparative linguistics, religious text, proverbs, linguoculturology, Avar language, Russian, conceptual sphere, FORGIVENESS, concept, universals

Abstract: The work of Venedikt Yerofeyev has been adequately studied and interpreted, however, there are still a number of texts that have not been practically studied in the mass of critical sources. One of the precedent constructs, an original and self-sufficient work is "My Little Leniniana" (1988). Therefore, the expediency of studying this text is motivated, in demand and relevant. The article attempts a holistic perception of "My little Leniniana" Veins. Erofeev from the standpoint of identifying a precedent construct in this work. The citation character, in our opinion, speaks of the author's desire not only to formally combine the text nominations from the writings, letters, diaries of V.I. Lenin, but to achieve the effect of immanent objectification of a new meaning. The main subject of the analysis of the work is the design features of "My little Leniniana" Veins. Erofeev, deciphering the mechanism of artistic writing, evaluation of the semantic facets of the work. The precedent text of the Ven. Erofeev becomes a point of concretization of the main cultural and historical dogmas, while the dynamics of semantic constants is mobile with the passage of historical time. The novelty of the work lies in the fact that "My Little Leniniana" by Venedikt Erofeev is considered as a precedent text formed from quotation constructs, however, having other semantic facets different from the original source. The simulation of the game, the simulation of spatial and temporal landmarks, the simulation of a reliable truth under the influence of what someone has already said levels the image of the author, he becomes a textural scriptwriter, creating a kind of palimpsest. The subjective organization of the Erofeev palimpsest is structured in such a way that the transition from a temporal beginning, a spatial point, a quotation following the "author" is carried out to stronger and immanent propositions. Venedikt Yerofeyev prophetically outlined in his "Little Leniniana" the contours of the changes of the late twentieth century on the textured, precedent material of the late XIX – early XX century.

Keywords: reader, interpretation, receptive criticism, poetics, intertext, discourse, small prose, precedent text, Venedikt Erofeev, scriptwriter