Aim. Prishvin’s military story, which is becoming increasingly topical in the 21^st century, is interpreted.

Methodology. The paper provides a short list of contemporary researchers of Prishvin, who study his connections with Russian and European philosophy. The narrative structure of M. M. Prishvin’s work of 1944 is analyzed; the relationship between the narrator, characters and the author in the general artistic space is commented; and some overlaps between the work and the Writer’s Diary for 1942–1943 arerevealed. Diary entries about the tragic present, preceding the work on the story (to clarify the historical and biographical context), are compared with some fragments and plot links of «The Tale of Our Time». Not only the author’s reflections, which influenced the content of the work, but also those statements of the writer, in which historical, moral and ethical perspectives are predicted, which have become «our time» for readers of the new millennium, are discussed.

Results. A conclusion is made that Prishvin’s analysis of the ideas that accompany human history fromthe Old Testament times to Christianity and socialism is present in his story as a way of resisting evil.In his Diary, Prishvin sought to discover and understand both the causes of heroism and the prospectsfor future well-being, which he regarded as a great danger for compatriots who had lost faith in God(essentially awaiting the kingdom of the Antichrist).

Research implications. The work contributes to the methodology of literary analysis and the possibility of their use in the practice of teaching philological disciplines.

Aim. We describe the semantic realization of the background figurative constant in Prishvin’s prose.

Methodology. A plethora of superlative contexts containing the verbal image «clouds / black clouds are moving» are analyzed. The interdependence of three categories of a literary text is revealed: «the image of the author», perceptivity, and imagery. Statistical analysis clarifies the frequency of the verbal image in Prishvin’s prose and the totality of its meaningful forms: axiological, figurative, symbolic, and conceptual. Using a descriptive intertextual and linguoconceptual analysis, the semantic polyfunctionality of the figurative‒perceptual unit is presented; it is proved that the landscape as a «text in general» is built on the principle of reflecting the author’s picture of the world, rather than on a real reference space. A method of linguistic analysis of the category of imagery of a prose text is developed using figurative constants associated with the study of stable and reproducible linguistic structures of the writer’s 1artistic thinking.

Results. Use is made of the main provisions of the theory of perceptual imagery in the linguistic analysis of a literary and diary text.

Research implications. The results of the study contribute to the methodology of linguoconceptological analysis of a literary text and linguopersonology.

Aim. The paper is devoted to the linguistic analysis of the semantic field ‘light’ in M.M. Prishvin’s book «The Road to a Friend (diaries)».

Methodology. A model of an individual author’s description of the light scale is developed, based on a formalized continuous sampling of the material. Significant are the methods of identifying semantic nuances of individual linguistic elements using the semantic-stylistic method, which is based on the principle of coordination of linguistic and individual.

Results. The corpus of linguistic units of the semantic field ‘light’ in M. M. Prishvin’s autobiographical prose is revealed. The functions of the artistic techniques used by the author to create a conceptualized world of light are determined.

Research implications. The study of the semantic field ‘light’ allowed us to identify the individual author’s universals of perception of this phenomenon of reality. The practical significance of the research is determined by the possibility of using materials and conclusions in teaching the stylistics of the Russian language and the language of fiction, as well as in the possibility of using the results to describe the individual author’s conceptual spheres.

Aim. We prove the need to increase the understanding of the Church Slavonic language by Orthodox believers and identify methods for achieving this goal.

Methodology. Use is made of a historical and structural analysis. The study relies on experience and argumentation, as well as examination of various sources. The paper presents arguments and counter-arguments on the issue of understanding / misunderstanding of liturgical texts in the modern Orthodox environment and identifies the main ways to resolve this issue. We cite and analyze the statements of

theologians and philologists and, on this basis, give arguments in favor of the need to preserve the Church Slavonic language in worship.

Research implications. The practical significance of the study lies in the fact that its results additionally confirm the need to preserve the Church Slavonic language as the language of worship. The inconsistency of the idea of a complete reformation of the Church Slavonic language, which is currently popular in society, is substantiated.

Results. Using the results of the analysis, we note that the corresponding level of understanding of the Church Slavonic language is achieved independently by a person in the process of constant attendance at Orthodox services and by studying the grammar of the language. The degree of understanding of the Church Slavonic language depends on the general level of spiritual literacy of parishioners. It is necessary to root in the minds of believers the belief that knowledge of the Church Slavonic language is an indirect confirmation of their faith and love for God and the Church.

Aim. The aim is to identify the originality of the toponymic space in the novel «Chevengur».

Methodology. The key research methods include the methods of continuous sampling, onomastic and etymological analysis, descriptive method, etc. The toponyms are classified in accordance with the typology proposed by N. V. Podolskaya in the work «Dictionary of Russian onomastic terminology».

Results. In this paper, we identify the originality of the toponymic space of the novel in question. The analysis makes it possible to conclude that the toponymicon of the novel «Chevengur» helps the author reveal the most important meanings of the work of art he creates.

Research implications. The onomastic potential of A. Platonov’s novel «Chevengur», which has not previously been subjected to careful consideration by onomatologists, is revealed.

Aim. We analyze scenarios of conflict interaction while discussing topics pertaining to the COVID-19 pandemic.

Methodology. Contexts (more than 375 comment threads published during the COVID-19 pandemic and extracted from Live Journal posts) as a semantic whole in terms of the presented language means are studied based on lingua-stylistic and componential semantic analysis. Motives and intentions are identified using the pragma-linguistic analysis. Content-analysis ensures that the context of the examined content (namely the situation of the COVID-19 pandemic) is discussed as part of modeling the functional specifics of words and their semantics. Use is made of a descriptive method to generalize, systematize, classify, and interpret the obtained results. This method characterizes speech moves and behavior in conflict development tactics. The reconstruction of tactics of conflict development in Internet communication during the COVID-19 pandemic is provided using the linguistic modeling method.

Results. We have identified three main conflict development tactics observed in the empiric data corpus: conflict escalation, conflict accommodation, and conflict neutralization. The features of users’ communicative behavior and linguistic means of each of the indicated tactics are determined.

Research implications. The theoretical significance of the presented classification description is determined by the need to diagnose the development of conflict in Internet-mediated communication in time and to prevent the development of conflict in specific speech situations.

Aim. On the basis of the text of L. Borodin’s autobiographical narrative «Without choice», we determine how precedent information expressed by a proper name affects the formation of specific means of selfpresentation of the author’s linguistic personality.

Methodology. The precedent anthroponym Berdyaev and the precedent text «Self-Knowledge» by Berdyaev used in L. Borodin’s autobiographical narrative «Without Choice» are considered as precedent phenomena creating the basis for the reader’s interpretation of the author’s linguistic personality. The methodology used in the paper includes a descriptive method and methods of contextual and conceptual analysis.

Results. The semantic potential and the pragmatic functions of the anthroponym N. Berdyaev are revealed by analyzing semiotic models. The linguistic means (special markers) of the mechanism of multiple interpretation of a linguistic sign are established.

Research implications. The obtained results can be used in the theory of text and in the study of the writer’s language.

Aim. By studying the poetic features of K. Vonnegut’s novels from the position of trauma as a special semantic field in modern literary criticism, we propose a new interpretation of the work of the American writer.

Methodology. The research is based on the biographical method, the findings of trauma studies in literary theory and the holistic literary analysis of Vonnegut’s novels.

Results. The results of the research show that it is possible to integrate the findings of trauma studies in literary theory into the research of K. Vonnegut’s novels. The trauma theory serves as another lens through which the interpretation and understanding the author’s literary universe is possible.

Research implications. The results of the research can be used in the practical classes focused on K. Vonnegut’s works and university elective courses blending trauma studies in psychology and in literature.

Aim. The purpose of the study is to formulate some aspects of the literary-critical concept of N. M. Karamzin, based on the analysis of his work «Pantheon of the Russian Authors» (1802).

Methodology. Attention is drawn to the fact that Karamzin uses the word «pantheon» as a literary collection, which includes not only the works of various authors, but also of various genres. Using several examples, we show the originality of Karamzin’s analysis, as well as characterization and evaluation of literary portraits of Russian writers. At the same time, the interest of the author of «Pantheon ...» is revealed not only in writers’ biographies, but also in the individual characteristics of the work of this or that writer. A peculiar periodization of the history of the Russian literature of the 18th century, outlined by Karamzin, is presented. Methodologically, it is significant that it almost completely coincides with the modern periodization of the Russian literature of the 18^th century.

Results. It is emphasized that in the «Pantheon ...» Karamzin acts not only as a critic, but also as a historian of the Russian literature of the 18^th century. Despite the similarity in the structure of dictionary entries in the «Experience of a Historical Dictionary of the Russian Writers» (1772) by N. I. Novikov and the cycle of literary portraits in the «Pantheon of the Russian Authors», Karamzin is completely original in the selection and presentation of material, in the historical and literary assessment of the writers in question, and in the critical method of analysis, not to mention the subjective and indifferent, often highly emotional tone of the essays, in contrast to deliberately dispassionate and somewhat dry style of N. I. Novikov.

Research implications. The paper summarizes the material on the topic under study, discusses the main provisions and features of the cycle of literary portraits of Karamzin’s «Pantheon of the Russian Authors». But at the same time, attention is paid only to the most significant writers of the 18^th century (Feofan Prokopovich, A. D. Kantemir, V. K. Trediakovsky, M. V. Lomonosov, A. P. Sumarokov), as far as the scope of the paper allowed. Analysis of the essays and miniatures of the «Pantheon ...» helps determine the place and significance of N. M. Karamzin in the history of Russian literary criticism. The practical significance of the investigation is that its results can be used in the study of the history of the Russian literature of the 18^th century in university courses, special courses, and special seminars.

Aim. We present Lermontov’s drawings of 1840‒1841 as a pictorial diary of his Caucasian life, illustrating the principle of documentalism, which is significant for the poet’s artistic method.

Methodology. The object of the research is Lermontov’s graphic works from the poet’s album of 1840–1841 (Department of Manuscripts of the Russian National Library, Fond 429, № 11) and P. A. Urusov’s album. The graphics are considered as a single Caucasian cycle of drawings that visually complement Lermontov’s poetic creativity. The methodology of the paper relies on the use of descriptive, biographical, cultural-historical, and aesthetic approaches that allow Lermontov’s drawings to be presented in the context of understanding his worldview and artistic method.

Results. The paper reveals that the Caucasian cycle of Lermontov’s graphics is characterized by documentary and diary nature. Capturing everyday life, Lermontov authorizes its historical value, thereby affirming the idea of creating history here and now. Lermontov’s drawings have a character of complementarity in relation to his literary heritage, and also provide valuable auxiliary information about the Caucasian life of that time in general and the specific environment surrounding the poet.

Research implications. The appeal to Lermontov’s graphics from the Caucasian albums makes it possible to trace the poet’s military life from 18 June to August 1840 and to clarify his movement to the military camp. The analysis of the drawings in relation to the «Journal of Military Operations» confirms the hypothesis about the possibility of Lermontov logging the ongoing military events on behalf of General A. V. Galafeev.

Aim. The purpose of the paper is to identify modernist principles of composing a text in modern Russian literature or, to be exact, to identify a tendency for a narrative to be based on perception rather than actions.

Methodology. The research investigates narrative structures of Mikhail Shishkin’s Larionov’s Reminiscences (One Night Befalls Us All, 1993) and Pismovnik (2010). The quality of these structures correlates with theoretical ideas of José Ortega y Gasset and Vladimir Weidle who postulated the crucial change in the quality of an early 20^th century literature narrative (they claimed that a traditional plot was replaced with 1a sequence of subjective perceptual images). It also investigates syntax and tropes of Shishkin’s novels.

Results. The results of the study are the identification of perceptual images replacing traditional actions in Shishkin’s novels. It is shown that the character’s perception influences the syntax (nominal sentences and simple sentences with a predicate describing a subject’s quality predominate) and tropes (metaphors and similes make highly subjective perceptual image) of novels.

Research implications. The research results contribute to the theory of a narrative change in the 20^th and 21^st century literature.