Abstract: The subject of the research in the article is the peculiarities of the influence of N. V. Gogol's satirical comedy "The Inspector" on the work of the Chinese playwright of the XX century Sha Yesin "If I were real". The methods of comparative and structural-semiotic analysis using elements of cultural analysis are used in the work, the method of interpretation of a separate text, the analysis of individual stylistic elements is also used. In this paper, we will be interested in productive reception, which, unlike reproductive reception, is associated with the entry of N. V. Gogol's satirical works as foreign texts into the work of Chinese writers. The novelty of the research lies in the fact that the name of the famous Chinese playwright and screenwriter Sha Yesin and his comedy "If I were Real" are introduced into scientific circulation for the first time in the aspect of the reception of N. V. Gogol's satirical traditions. The peculiarities of the influence of N. V. Gogol's satirical traditions on Sha Yesin's comedy "If I were Real" are due to the internal political situation in China in the 1970s of the XX century and the influence of national traditions of Chinese literature. In this regard, Sha Yesin followed the traditions of Gogol's satire to the extent that it was necessary to express the main idea of the comedy of the Chinese playwright, in connection with the trends of the time that coincided with the ideological content of the "Auditor" – exposing the vices of officials. To solve the set artistic task, Sha Yesin consciously followed the plot of Gogol's comedy, which explains the borrowing of plot techniques from the "Inspector" ("the deceiver involuntarily", "double exposure", "incriminating letter"). Comparison of N. V. Gogol's comedy "The Inspector" and Sha Yesin's play suggests that the reception of Gogol's satire allowed Sha Yesin to create an original comedy that enriched Chinese literature.

Keywords: Dramaturgy of Sha Yexin, Satirical comedy, literary traditions, reception of creations, Russian literature, comedy "The inspector", satire of Gogol, Chinese literature, creation of N. V. Gogol, satirical reception

Abstract: The article is devoted to the study of the work of the Tomsk science fiction writer, member of the Union of Writers of the USSR Viktor Dmitrievich Kolupaev (1936-2001). The purpose of the study is to identify the features of the representation of the category of fiction space and time in the poetics of the fiction writer's short prose based on the novella "Dzyapiki" (1989). The theoretical basis of the research was made up of works devoted to the consideration of the spatio-temporal organization of the literary text in science fiction works. The practical significance of the article is that its materials and general conclusions can be used in the study of the history of Russian literature and Soviet fiction, regional literature in the framework of special courses. The scientific novelty of the work lies in the study of the spatio-temporal organization of Kolupaev's short prose, as well as in the involvement of a previously unexplored novella as a research material, which is important for understanding the originality of the author's fiction world. The three-part chronotope system is defined and analyzed, the originality of the time travel plot used for traditional science fiction in order to reveal social issues is revealed. Three chronotopes (the epoch of the Dziapiks, real time and their mixing), the characteristic features of which are represented in the landscapes and characters allow us to depict the shortcomings of the system that negatively affects a person.

Keywords: chronotope, fiction time, fiction space, Dzyapiki, Victor Kolupaev, soft science fiction, Soviet science fiction, Russian literature, time travel, Siberia

Abstract: The purpose of the study is to determine the specifics of the compositional–speech form of E. Grishkovets' monodrama. The subject of the study is the ratio of narrative and anarrative elements in six monodramas by E. Grishkovets - "How I ate a dog", "Simultaneously", "Dreadnoughts", "+1", "Farewell to paper", "Whisper of the heart". To achieve this goal, the following tasks are solved: firstly, to identify and characterize the anarrative elements in the monodramas of E. Grishkovets; secondly, to analyze the communicative situations underlying the action of the studied plays; thirdly, to determine the ratio of narrative and performative elements in the works. The theoretical basis was the work in the field of artistic discourse: the theory of the dialogical nature of art by M. M. Bakhtin, which has already become a classic, and was developed in the research of V. I. Tyupa. The main method of research was the discursive analysis of the literary text, which allows to identify and describe the invariant model of E. Grishkovets' monodrama. The scientific novelty of the research lies in the approach used: the invariant structure of E. Grishkovets' monodramas is revealed by studying the genre through discourse. The analysis of the peculiarities of the discourse of E. Grishkovets' monodramas showed that the event of each of the plays consists in the explication "here and now" before the reader/viewer of complex internal processes occurring in the minds of the characters asking ontological questions related to the self-determination of a person in the world. The human essence in one aspect or another of being becomes a communicative object, while the hero tries to clarify his status for himself and the addressee of his speech. At the same time, in the picture of the hero's world, understanding turns out to be more significant than gaining knowledge. Trying to clarify for himself and the addressee one of the general laws of existence, the hero simultaneously transforms his own consciousness, since he comes to the conclusion that it is impossible to achieve mutual understanding in its entirety.

Keywords: hero, storytelling event, narrative and anarrativity, the communicative situation, performative discourse, anarrativity of the dramatic text, drama, monodrama, Grishkovets, self-identification

Abstract: The author considers in a comparative aspect, based on the material of postmodern Chinese and Russian literary texts, the representation of the conceptual metaphor of time. The subject of the study is the conceptual metaphor of time, which represents the area of the purpose of the metaphor in the analyzed texts. In addition, a number of areas of the source of metaphor are considered in both Chinese and Russian literary texts of the postmodern era ("Money", "Space", "Object", "River", "Living being", "Container"). The works of Mo Yan and V. O. Pelevin are used for the analysis. The following methods were used in the course of the study: the method of semantic analysis, the comparative method, the method of conceptual analysis. The scientific novelty of this work lies in the fact that for the first time, the similarities and differences of the representation of the conceptual metaphor of time are clarified in it using the material of postmodern fiction in Chinese and Russian. Comparative analysis showed the presence of similarities in the representation of the metaphor under study in the source areas of "Money", "Space", "Object", "River". A distinctive feature of Chinese texts is the representation of metaphor in the "Container" areas, and Russian texts in the "Living Being" areas. The practical value of this work is seen in the fact that these materials can be used in classes on the interpretation of literary texts of the Chinese language in universities. The works of such a plan create a good prospect for the further development of one of the new areas of linguoculturology, namely comparative linguoculturology.

Keywords: Target of metaphor, Russian language, Chinese language, comparative linguistics, imagery component of concepts, Chinese texts of postmodernism, Russian texts of postmodernism, Conceptual metaphor of time, Conceptual metaphor, source metaphor

Abstract: The article describes the analysis of the "spontaneous" dialogue of two Russian and foreign voice systems. The study is relevant because the possibilities of communication of the introduction spontaneously dialogue between Russian-speaking and foreign voice systems have not been studied by now. The objects of research have become two Russian-speaking systems – Alice by Yandex, voice assistant application by Sberbank; two English voice systems – Siri by Apple Ink and Google Assistant, including their Russian version. The choice is due to their popularity among native speakers of the Russian language, which was determined by the requests of these voice assistants on the Internet. The sampling period was from January 1, 2021 to December 20, 2022. Russian-speaking and English-speaking voice systems were selected by a continuous sampling method. The article draws conclusions, including about the communicative capabilities of Russian-speaking voice systems and foreign analogues with a built-in translation function into Russian. The scientific novelty is the analysis of "spontaneous" dialogic speech and the analysis of its compliance with the norms of the modern Russian language. At the end of the article there are results of the analysis of foreign phrases and expressions with a small number of variants are summarized to generate a response to the user based on materials from the corpus of the Russian language. Also, it is not uncommon to identify features of machine translation in foreign voice analogues, unlike Russian-speaking voice assistants.

Keywords: Russian language corpus, syntax, variability, speech recognition, machine translation, communicative function, voice assistant, voice helper, English-speaking voice system, Russian-speaking voice system