Aim. To identify a paradigm of interrogative constructions (rhetorical statements) among the linguistic means of expressiveness in the works of M. Yu. Lermontov and to establish their role in conveying the sacred meanings, spiritual turmoil and inner contradictions within the world of characters created by the poet. To present the functioning of rhetorical statements in revealing sacred meanings associated with the constants “soul” and “love”; in creating the confessional nature of the texts he created; and in their dialogization.
Methodology. The research was conducted based on a selection of rhetorical statements with lexical constants “soul” and “love” from M. Yu. Lermontov’s poetic and prose texts. Observations were made regarding their semantic expansion within the context. A structural-semantic analysis of the collected material was carried out, allowing conclusions to be drawn about their participation in the confessional and dialogized nature of the poet’s creative legacy, highlighting its subjectivity and emotionality.
Results. It was established that various structural-semantic models of rhetorical statements are one of the most important linguistic means for revealing sacred meanings in the author’s creative legacy, giving it a confessional character.
Research implications. The approach proposed in the article for evaluating the use of syntactic means of expressiveness in the text of an individual author can be applied in analyzing such means within the system of expressiveness in the literary texts of other authors.

Aim. To analyze the parameter of the multifunctionality of emotive interjections in M. Yu. Lermontov's poetic texts, to establish and detail the communicative functions of emotive interjections in the semantic space of the author’s text.

Methodology. The methodological basis of the work consists of functional and descriptive methods used for the textual analysis of the functions of emotive interjections, the study of meanings actualized by interjections, the description of emotive interjections as multifunctional means of language.

Results. The paper analyzes a set of communicative functions (representative, expressive, pragmatic, evaluative, localization, semantic layering) as indicators of the multifunctional nature of emotive interjections in the semantic space of a literary text. It is proven that emotive interjections are an important communicative tool used by M. Yu. Lermontov for expressing the author’s opinion, multi-layered emotional reactions reflecting the poet’s complex feelings, expressivization of created artistic images, increasing the anthropocentricity of the text and the degree of pragmatic influence on the addressee. The functional and textual parameters of emotive interjections are clarified when deploying the author’s internal dialogue with the reader and increasing the evaluative component of the literary text.

Research implications. It is based on the analysis and generalization of theoretical positions and practical data obtained during the linguistic analysis of the parameter of multifunctionality of emotive interjections in M. Yu. Lermontov’s poetic tests. The functional characteristics of these interjections in the semantic space of the text are defined and systematized, the communicative functions of emotive interjections in author’s texts are described, the psychological reactions of subjects represented by interjections are analyzed, the aspect of individualization and expressivization of artistic images by emotive interjections is concretized. The way of analyzing the research problem is theoretically justified and practically tested: from establishing the degree of importance of the parameter of multifunctionality of emotive interjections to establishing and describing the specific communicative functions of these linguistic elements in M. Yu. Lermontov’s poetic texts.

Aim. To reveal the properties of the herms of the field of linguistic tension of a complex syntactic whole, which are in the exposition of the artistic macrotext.

Methodology. The paper considers the lexemes of the herms of the field of linguistic tension of a complex syntactic whole, located in the exposition of the artistic macrotext and functioning in it, realizing the prospectus as a textual category. The research uses methods of continuous sampling, observation, generalization, interpretation of results and a comprehensive level analysis of a complex syntactic whole.

Results. In the course of the study, it was revealed that the hermes of the field of linguistic tension of a complex syntactic whole, located in the exposition of the artistic macrotext, implement the prospection as a textual category, as well as cohesion and integration, contributing to the identification of those meanings that reflect both the idiosyncrasy of the author and the system of his worldview, as well as the contradictions of this system.

Research implications. The results of the study contribute to the theory of a complex syntactic whole as a linguistic unit that implements an expanded utterance.

Aim. To identify the linguistic and cultural potential of the Russian word кавказец “Caucasian” in the conceptual space of M. Yu. Lermontov’s essay.

Methodology. The author identifies and analyses the factors that predetermine how the meanings of the word under investigation have been changing and developing. The comprehensive methodology applied by the author includes a descriptive and analytical method, as well as contextual and conceptual analyses.

Results. In Lermontov’s essay, the Russian word кавказец (Сaucasian) is a unit of the textual semantic field related to the toponym Caucasus. The word кавказец (Сaucasian) has contextual links with the names of axiological national and cultural dominants, as well as the realities of Russia’s history and modernity, its regional geography concepts and individual life experience, which are viewed as the sources for semantic development and the emergence of associations in the text.

Research Implications. The obtained results can be used in the study of the linguistic picture of the world, and the linguistic personality of the author.

Aim. To describe the features of studying the “general imagery” of the work, and particularly the stylistic features of portraiture in the works of M. Yu. Lermontov using a perceptual speech situation.
Methodology. Based on a sample of visual perceptual units from the text of M. Yu. Lermontov's Collected Works, as well as statistical data from the NCRL, the sum of contexts containing visual predicates is analyzed. Distributive analysis consists in referring to the environments of the units in question. The categorical semantics of perceptivity makes it possible to use the method of linguistic-cognitive modeling of artistic reality. Descriptive intertextual and linguistic-conceptual analysis is applied, the semantic polyfunctionality of figurative-perceptual units in a single space of the Lermontov text is revealed. It is proven that the problem of portraiture in M. Yu. Lermontov’s texts is based on the semantics of the perceptual predicate. The author develops a method of linguistic analysis of the category of imagery according to individual functional variants (figurative constants) of syntactic perceptual concepts <X> sees <what>, <X> looks, looked at <what>, linking them with the study of stable and reproducible language units of author’s artistic thinking.
Results. The study enables application of the main provisions of the theory of perceptual imagery in the linguistic analysis of the literary text of M. Yu. Lermontov and his contemporaries.
Research implications. The importance of a special textual unit – the figurative-perceptual speech situation in the study of idiostyle features of the first third of the 19th century is confirmed; the results can be used in the study of M. Yu. Lermontov’s creativity and visual verbal imagery. The effectiveness of the linguistic-conceptual analysis of a literary text is proved.

Aim. To examine the contextual environment of the eye lexeme in M. Yu. Lermontov’s novel “The Hero of Our Time”.
Methodology. The eye lexeme is presented as a text-forming one in the artistic space when creating a psychological portrait of the characters. The methods of identifying binary oppositions, as well as syntactic series in the aspect of the theory of oppositions, are significant.
Results. A corpus of contexts with an eye linguistic unit (103 contexts) has been identified, syntagmatic, paradigmatic connections, and contextual partners have been established. The fundamental binary opposition shine – lack of shine is revealed, based on which additional antonymic pairs are determined.
Research implications. The linguistic analysis showed that in order to fully identify the semantic structure and stylistic shades of one lexeme in a literary text, it is necessary to consider the entire corpus of contextual partners. The practical significance is determined by the possibility of using materials in teaching the stylistics of the Russian language, the language of fiction.

Aim. To identify the specifics of the disclosure of Lermontov’s motifs in A. P. Chekhov’s story “The Duel”, to clarify the specifics of the historical-literary and historical-cultural concept reflected in the characterization of Laevsky as a specific type of “protagonist-reader”, to reveal the significance of the novel “A Hero of Our Time” as a precedent basis for Chekhov’s ideas about the “hero of the time” and the “superfluous man”, taking into account the texts associated with the understanding of Lermontov’s novel in the Russian literature and journalism of the second half of the 19th century.
Methodology. The analysis proposed in the article is based on the principles of historical-genetic and comparative-typological examination of the literary work. The characteristics of the main elements of the text of the story “The Duel”, comparable with Lermontov’s novel “A Hero of Our Time”, are carried out taking into account the peculiarities of Chekhov’s work with the source, which involves a shift in emphasis both in the characteristics of the characters and in the development of key plot situations, primarily in “The Duel” itself, which made it possible to explicate the motive of the protagonist’s transformation, implicitly embedded in the internal evolution of Lermontov’s Pechorin.
Results. The conducted analysis made it possible to clarify the historical-literary and historical-cultural concept of Chekhov, the specificity of his ideas about the social-literary type of the “superfluous man” and the significance for their design of works not only of Lermontov, but also those equal to him – Pushkin, Turgenev; the basis for comparing the story of Chekhov and N. A. Osipovich (Novodvorsky) “Episode from the life of neither peahen nor crow” was established. The specificity of the transformation of Lermontov’s motifs of the image of the “hero of the time” in Chekhov, the construction of the prospect of his development and the possibilities of finding a true place in life was determined.
Research implications. The results of the study can be the basis for considering the historical and literary concept of Chekhov as a whole, as well as studying the literary type of the “superfluous man”, the protagonist-reader motif in a literary work, as well as the deep processes of transformation occurring in Russian literature at the turn of the 19th and 20th centuries.

Aim. To reconstruct the history of the appearance of the list of M. Yu. Lermontov’s poem “Valerik” from the archive of Yu. F. Samarin, identify its features, disclose its value for establishing the definitive text and understanding Lermontov’s work.

Methodology. The article compares the draft autograph of M. Yu. Lermontov’s poem “Valerik”, its first publication and the so-called Samarin's list, provides a description and clarifies the attribution of the list related to its origin and the history of its introduction into scientific circulation. A comprehensive methodology is used that synthesizes textual tools with biographical and cultural-historical methods.

Results. Comparison of the Samarin’s list and the first publication of the poem “Valerik” with Lermontov’s autograph revealed semantic changes that appear in the published text, while in Lermontov’s draft and the Samarin’s list they coincide. Returns in the list to the earlier drafts, reproduction of crossed-out episodes allow us to state that the text was reproduced directly from the draft of Lermontov’s autograph.

Research implications. The necessity of freeing Lermontov’s text from the edits imposed by the editors is substantiated; the publication of the poem considering the Samarin’s list allows us to clarify the semantic accents of the poem “Valerik”.

Aim. To reveal the features of the religious worldview in the poem “The Branch of Palestine” by M. Yu. Lermontov and in the book of travel essays by A. N. Muravyov “Journey to Holy Places in 1830”. This aim led to specific tasks related to the analysis of the chronotope, composition, and figurative worldview in poem by Lermontov.
Methodology. The work uses the cultural-historical method, the method of comparative analysis, as well as the method of holistic analysis. The main content of the study is an analysis of the motif of the spiritual pilgrimage, associated with the religious transformation of the soul and the metaphysic revelation in the physical.
Results. Lermontov’s reception of the traditions of Russian pilgrim literature has been revealed by the analysis. According to the results of the study, a conclusion was made about the commonality of Lermontov and Muravyov in revealing the religious worldview. This community is due to the national cultural and religious code, the centuries-old tradition of the genre of walking.
Research implications. The analysis revealed the peculiarities of the poet’s reception of the traditions of Russian pilgrimage culture. According to the results of the study, a conclusion was made about the similarity of Lermontov and Muravyov in revealing the religious worldview. This similarity is conditioned by national cultural and religious codes, a centuries-old tradition of pilgrimage literature.

Aim. To determine the artistic functions of numerical symbolism in the non-romantic prose of M. Yu. Lermontov “I want to tell you…” and “Stoss”.
Methodology. The research procedure involves the selection of cases of numerical discourse from the text of the works, the classification of the identified examples based on the five main categories of the use of this type of symbols (time, distance, age, quantity, uncertainty), the determination of the semantic and symbolic function of the presented numbers depending on the context and significance in the disclosure of the artistic world. The key methods were comparative and hermeneutical methods followed by contextual analysis, as well as finding possible metatextual elements related to the cultural heritage preceding Lermontov’s work.
Results. The leading role of numerical semantics in revealing the symbolistic content of M. Yu. Lermontov’s unfinished novels is determined. The relevance and novelty of this kind of research is substantiated in view of the insufficient study of this phenomenon and the complete absence of complex analyses of numerical symbolism in the author’s works and its purpose.
Research implications. The results of the analysis may be further applied for a deeper understanding of literary works.

Aim. To highlight the specifics of Lermontov’s perception of the history and culture of Greece, to analyze Greek motifs in his work.
Methodology. The article uncovers the sources, which shaped Lermontov’s perception of Greece, the circle of works that use plots and images of the classical antiquity and contain a response to the events of contemporary Greek history. The author uses biographical, cultural-historical, historical-functional methods of research.
Results. The article comprehensively presents the features of artistic interpretation of the image of Greece in Lermontov’s works, demonstrates that both the past (classical era) and the present of the country are equally important to the author. Poet’s works interpret mythological plots and images, as well as Greek folk song “Olympus”, he lyrical plot of which is qualitatively rethought.
Research implications. The article systematically presents the Greek theme in Lermontov’s works, which allows us to more fully reveal the problem of intercultural dialogue in the literature of the first half of the 19th century.

Aim. To identify the ideological and artistic samples of M. Yu. Lermontov’s work that influenced the formation and evolution of Russian symbolism.
Metodology. The aesthetic role of mythopoetic elements of Lermontov’s imagery world in the formation of the theory of Russian symbolism and literary criticism is established by V. V. Rozanov, V. S. Solovyov, V. I. Ivanov, D. S. Merezhkovsky, S. N. Bulgakov, A. Bely, A. A. Blok, M. A. Voloshin, D. L. Andreev. The transformation of visionary images of Romanticism lyrics as an aesthetic model of works of symbolism of the turn of the XIX–XX centuries is considered. The gnostic nature of understanding the lyrical “I”, the mystical perspective of love poetry, the Russian landscape, and social motives are revealed. The author discovers separate semantic layers of imagery linking Lermontov’s poetry with Russian mythopoeic symbolism.
Results. It is concluded that in several M. Yu. Lermontov’s poems there are images and ideas that influenced the formation of the theory and practice of Russian symbolism as examples of mythopoetic thinking.
Research implications. The results of the study expand and complement the ideas about mythopoetic parallels and traditions in the integral artistic space of Russian lyrics, the historical and literary context and the possibilities of interpreting classical poems by M. Yu. Lermontov and several poets of the turn of the XIX–XX centuries in the system of discussion and the phenomenon of increment of meanings.