Aim. To study the language and conceptual sphere of E. I. Zamyatin’s journalistic works and to identify their individual specificity.
Methodology. The paper examines the main linguistic and conceptual features of E. I. Zamyatin’s journalism from the standpoint of linguistic-cultural and cognitive-discursive approaches. The paper reveals the distinctive conceptual and linguostylistic features of Zamyatin’s journalistic texts, indicating the specificity, linguistic originality and highly professional level of the individual media-speech of their author. Using the method of conceptual analysis, the study examined the previously unexplored individual conceptual sphere of the writer’s journalistic works and the means of its linguistic representation.
Results. It is concluded that the writer’s original journalism, owing to the original manner of narration, methods of design and presentation of linguistic material, skillfully used means of artistic expression which ensure the maximum impact, has a strongly marked discursive nature and acts as a bright national-cultural phenomenon that deserves special research.
Research implications. The results of the research expand and complement the understanding of the phenomenon of Zamyatin’s journalistic discourse in terms of its conceptual, linguistic and stylistic organization.

Aim. To identify the ideological-semantic and constructive-stylistic features of the organization of poetic texts by E. I. Zamyatin in the context of the aesthetic theory developed by the writer in his “Lectures on the Technique of Fiction”; to carry out a system-holistic description of poetic experiments as an integral part of the art world of E. I. Zamyatin.
Methodology. The article presents an analysis of three poems by E. I. Zamyatin, with an intimate and personal nature and addressed to L. N. Usova and R. V. Ruhr. With the help of structural-typological, historical-cultural and historical-genetic methods of scientific research of the artistic text, the poetics of poems by E. I. Zamyatin are considered, their motive-shaped structure and semantic-stylistic organization are determined.
Results. Substantial-semantic and formal-constructive dominants in the poems of E. I. Zamyatin were established at the level of subject-object relations that organize the internal and external space of poetic texts; aesthetic and philosophical and ontological parameters were discovered that allow us to verify the poetic experiments of E. I. Zamyatin as manifestations of the poetic culture of the Silver Age, the ideological and aesthetic proximity of the novel “We” author’s poems to acmeism as an art movement of the beginning of the twentieth century was revealed.
Research implications. The results of the study contribute to the study of the creative heritage of E. I. Zamyatin, clarify the role and place in it of the poetic experiments of the writer, which are a specific implementation of the aesthetic concept of neorealism.

Aim. To determine the thematic zones of the nomination of modern society and its dynamics, to study the axiological composition of the nomination of society, its ethnic specifics.
Methodology. The subject of consideration is the informal nomination of the modern Russian society as a fragment of the linguistic picture of the world. The relevance of the research is due to the study of the mass “grassroots” understanding of modern life. The material of the press and oral talk-show experts was analyzed (1080 examples). The methods of component analysis and the comparative method were used.
Results. The results of the study show the historical change of the axiological sign (holy – dashing – slop nineties, stagnation – gentle Brezhnev), reveal the ethnic peculiarities and the historical background of the nominations of society (ottomans, bloomers Wehrmacht). The main functions of the informal nomination of society (epistemological, characterizing, adaptive, philosophical) are established.
Research implications. The results of the work can be used in linguistics, journalism, sociology, political science.

Aim. To elaborate recommendations for describing a microsystem of polysemous verbs expressing a syncretic meaning of ‘moving / staying within a limited area’ (tolkat’sya, toloch’sya, tolpit’sya, tesnit’sya) in the Great Academic Dictionary of the Russian Language.
Methodology. The article contains a research on the interpretation of this verb microsystem in all the main Russian definition dictionaries. Based on a lexicographic analysis with the involvement of corpus data, its lexical and semantic specifics are uncovered.
Results. A conclusion is made that the semantic structures of these verbs are isomorphic to each other. The optimal ways are established to describe them in an definition of the great type.
Research implications. The research results help systematize the description of the studied verbs in the Great Academic Dictionary of the Russian Language, which is now being issued. The article contributes to the discussion around the discrete lexicographic interpretation of syncretic semantic structures.

Aim. The aim of the study is to elicit the conditions for the implicit grammatical meanings in the text and to describe the specific cases of their expression.
Methodology. The observation method was applied to select examples from the National Corpus of the Russian language, while the component analysis method allowed us to elicit their implicit grammatical meanings. Due to the classification method conditions were defined when implicit grammatical meanings arise which in their turn were described by means of the description method.
Results. The conditions for the creation of implicit grammatical semantics are revealed: 1) cases of neutralization of the main grammatical meaning of a word form, 2) various types of grammemes transposition 3) overcoming paradigmatic limitations of word forms, 4) lexicalization processes.
Research implications. The study of hidden grammatical meanings contributes to more adequate research of the modern Russian language system as well as the pattern of the system elements functioning. The study results can be of use in teaching modern Russian language morphology and teaching methodology of the Russian as a second language.

Aim. To identify the semantic dominant of the macrofield “Value” and to determine the meaning-forming principles of the universal concept faith in Russian linguistic culture.
Methodology. The study of the “faith” concept is based on the use of the following methods: semic analysis to reveal the meaning components of the unit under study, the method of interpretation to describe the dictionary definitions, etymological analysis of a word and component analysis to identify the genetic semes.
Results. The work presents the definition of the concept “faith” as the dominant of “value” macrofield in Russian linguistic culture, as well as the establishment of the main qualitatively characterizing semantic components of the meaning of the “faith” lexeme.
Research implications. The work contributes to the development of functional grammar, cognitive linguistics, linguistic semantics, lexicography. The results of the study can be used in the practice of teaching the courses “Modern Russian Language” (in “Lexicology” section), “Semantics of the Text”, “Philological Text Analysis”, “Linguistic Text Analysis”, “Cultural Linguistics”, when conducting special courses and seminars, as well as in the practice of teaching Russian as a foreign language.

Aim. To consider the specifics of the functioning of impersonal sentences in a journalistic style based on the material of portrait essays published in the Arkhangelsk regional newspaper “Pravda Severa” in the 1970s–80s.
Methodology. By the method of continuous sampling from newspaper texts, impersonal sentences were isolated and distributed according to structural and semantic varieties. The features of the functioning of various types of impersonal sentences in portrait essays are consistently considered.
Results. The analysis has shown that impersonal-modal sentences expressing various relations between the detached subject and the action are the most frequent in newspaper texts, among them are constructions serving the modality of necessity, while the subjective component is often not really represented in them. Impersonal sentences help to express the author’s attitude to the described, to create a convincing speech characteristic of the central figure of the publication, to convey the conditions for the implementation of a particular situation.
Research implications. The theoretical significance lies in the disclosure of the figurative-expressive and emotional-expressive potential of impersonal sentences in a journalistic text. The practical significance of the article materials is due to the possibility of their use in the practice of teaching philological disciplines.

Aim. To consider the features of the literary portrait genre in the critical heritage of N. M. Karamzin on the material of his article “About Bogdanovich and his works” (1803).
Methodology. The main method of analyzing this article by Karamzin is biographical, since in it a work of art (in this case, I. F. Bogdanovich’s poem “Dushenka” (1783)) is directly dependent on the inner world of the author, on his individual fate and personality traits.
Results. It is concluded that Karamzin’s article is of a syncretic nature, that is, it combines a literary portrait, an obituary and a critical analysis of Bogdanovich’s poem “Dushenka”. Indeed, the essay (Karamzin’s article can be defined in this way) “About Bogdanovich and his works” speaks about the recently deceased writer, contains biographical information about him and an assessment of his activities, which fully corresponds to the obituary genre. And yet, the main merit of Karamzin in creating a literary portrait of Bogdanovich is a detailed, thorough, professional analysis of his main work – the poem “Dushenka”, with abundant quotations, with accompanying and very valuable comments and explanations. The purpose of these quotations is to clearly show the artistic merits of “Dushenka”, to justify the preference that the author of the article gives to Bogdanovich’s poem in comparison with the story of the French writer Jean de La Fontaine “The Love of Psyche and Cupid” (1669), which served as one of the main sources of “Dushenka”. Karamzin with his article “About Bogdanovich and his works” can undoubtedly be considered the founder of the literary portrait genre in Russian criticism.
Research implications. The paper presents a holistic analysis of Karamzin’s article “About Bogdanovich and his works”, which can be regarded as a kind of continuation of his article “The Pantheon of Russian Authors” (1802), where Karamzin acts not only as a critic, but also as a historian of Russian literature. But unlike the “Pantheon …”, here Karamzin’s attention is focused on the literary portrait of one author – the Russian poet, translator, journalist Ippolit Fedorovich Bogdanovich (1743–1803). It is emphasized that the article “About Bogdanovich and his works” is fully consistent with the aesthetic principles of sentimentalism and the artistic tastes of Karamzin himself as a writer and critic, and is to some extent flagship in his literary and critical activity. The practical significance of the study lies in the fact that its observations and conclusions can be used in the further study of I. F. Bogdanovich’s and N. M. Karamzin’s works in university courses on the history of Russian literature and criticism.

Aim. To identify the origin of dominant philosophems in the context of the poet’s entire work and to consider the poetry of B. Okudzhava as an aesthetic and philosophical phenomenon.
Methodology. For a comprehensive identification of the artistic and philosophical integrity of B. Okudzhava's poetry, the main leitmotif lines in hermeneutical perspective are highlighted.
Results. For the first time, the role of the ellipsis sign in the title-final complex of a number of poems is explained. The ellipsis precedes the verbal text as a meta element and links individual poems into a general meaningful and multifaceted discourse. The authors identify the unrealistic features of poetics and mythopoetics as determinant in the construction of the author’s neo-myth. The specific perception of the Caucasus in the lyrical plots of B. Okudzhava and his “Arbat text” are aligned in the cosmogonic key of a joint meal.
Research implications. The introduced concept of lyric-philosophical metatextuality allows to conduct literary analysis of poetic works from the perspective of genre-generic convergence.

Aim. To interpret the final story of M. Elizarov “We Went out to Smoke for 17 years”, which reflected the tragic moral metamorphosis of a whole generation whose youth fell on the period of the breakdown of the era and former values.
Methodology. Phenomenological and comparative approaches are taken as a research basis. Taking into account the opinions of literary critics about the specifics of Elizarov’s work, the artistic logic of the story “The Money-Changer” is sequentially analyzed and its content is compared with the important ethical theses of Elizarov’s essay on Arkady Gaidar, written almost simultaneously.
Results. The artistic truth of the story confirms the complexity of the author’s attitude to the desecrated Soviet Atlantis, its spiritual and moral strength and impact on the individual. The young protagonist of “The Money-Changer”, brought up on the Soviet-Gaidar cultural code, undergoes a crisis of faith in the depth of human relations due to cruel violence against himself. He is forced to abandon Soviet artistry and the code of honor in personal behavior. After 17 years, the former naive romantic emerges victorious from a similar situation. However, the ending of the story suggests that the narrator-author acknowledges in himself a certain spiritual defeat, exchange, concession to evil, the means of overcoming which he is still looking for.
Research implications. The article states the incompleteness of the spiritual and moral searches of Mikhail Elizarov, introduces new touches to the motive of substitution, little studied in the works by this author.  

Aim. To follow sustainable “Parasha Lupalova” plot formation in the first half of the XIX century based on three works: a novel by Sophie Cotton, a short story by Xavier de Maistre, a play by Nikolay Polevoy.
Methodology. The main research methods are analytical and comparative. The structure and elements of the “parasha’s plot” are analyzed, recurring components are singled out: geographic localization, type of heroine, stable components of the plot.
Results. Based on the analysis of the works of the first half of the 19^th century the hypothesis of the formation of a consistent “Parasha’s plot” is confirmed. This plot became so popular that it was reproduced both in author’s works and anonymous belles-lettres loves of the last quarter of the 19^th century. Moving from work to work, it easily adopted the features of different literary genres: fairy tale, hagiography, adventure novel, historical novel, educational novel. At least two periods can be distinguished in the history of the development of the “Parasha’s plot”: formation (the first half of the 19^th century) and modification (late 19^th – early 20^th centuries). The texts considered in the article relate to the first stage of development of “Parasha’s plot”. The article analyzes in detail the specifics of each of the three works, identifies the artistic tasks that each author set himself and the modifications to which the plot was subjected.
Research implications. Analysis of the development of “parasha’s plot” allows to draw conclusions regarding how consistent plot patterns operate in mass literature.

Aim. The purpose of the article is to trace one of the ways to update the tragic genre in France in the first half of the 17^th century, in particular, on the principle of experimental combination of tragic and tragicomedic genre models, using the example of J. Mairet’s “La Sidonie”.
Methodology. The genre approach, which involves taking into account the typology of the genre, is complemented by a structural-semiotic one, in accordance with which the character of the unfolding of a tragic text as a discursive-rhetorical system is considered.
Results. “La Sidonie” is one of the first modern tragedies with a political plot, in which tragicomedic elements that define intrigue play a subordinate role and serve to transmission historical conflict.
Research implications. In the work of Mairet, the French classic tragedy begins to take shape. Mairet as the author of tragedies with a political plot (“Sophonisbe”, “Le Marc-Antoine, ou la Cléopétre”, “Le Grand et dernier Solyman”, “La Sidonie”) had a direct influence on the formation of Corneille’s tragic writing.