Aim. To investigate the linguistic and stylistic nature of Fet’s poetics and to create his axiological portrait within the framework of the linguistic-axiological scientific approach.
Methodology. The works on the category of evaluation in the functional-semantic field (E. M. Volf, V. I. Karasik, T. V. Markelova), on the study of Fet’s poetic language (M. L. Gasparov, V. S. Solovyov, V. V. Vinogradov, Yu. Aikhenvald), and on cultural linguistics (V. A. Maslova) served as theoretical foundation of the research. 
Methods of componential semantic analysis, linguo cognitive analysis, and linguistic-stylistic analysis of 
the verbal fabric of the poetic text within the paradigm author – poet – reader – addressee are employed. Pragma-stylistic analysis of the aesthetic sign and interpretative analysis are also utilized.
Results. The worldview of a creative person is determined through the prism of their value system, 
which reflects the values of the culture in a specific period of social development. The intentions of a 
linguistic personality, aimed at cognizing the external world and evaluating it, analyzing the inner world 
and its emotional structure, are mediated through language in a cultural dialogue with art thinking. 
The realization of these intentions in the form of an axiological portrait of A. Fet, the iconic poet of the 
1840s – 1880s, demonstrates a phenomenal synthesis of temporal, spatial, and emotional worldviews, with interacting concepts, keywords, imagery devices, and the specifics of the poet’s relationship to the world within them. The harmony of disharmony, the transformation of “non-evaluative” vocabulary into evaluative, and the technique of contrast are rooted in the poet’s life drama and reflect its features. Signs of evaluation / functions, pragmemаs, and connotations that interpret positive and negative meanings on the evaluative scale – play a special role in verbalizing poetic consciousness. Distinction between the aesthetic and the ethical, the emotional and the rational, the “ideal” and “everyday life”, which A. Fet “lived and breathed” in his lyrics with, is emphasized. This complements the linguistic worldviews with a contrasting organization of “dreary languor,” the impressionism of an “accidental half-sigh,” the half-sound and half-glance of poetic communication.
Research implications. Based on theoretical data, evaluative classification, and a contemporary linguistic-stylistic approach to the text, the study identifies the specifics of a person’s linguistic worldviews that determine the emotional, temporal, and spatial paradigm of his expressive language. Its role in 
researching Fet’s legacy, that is the “magic field” of Russian poetry, a treasury of an “overflowing soul”, 
a “poetry not of completions but of aspirations,” created by the painter of the “secret night”, is proved to be significant for the study of the modern emotional-communicative personality (V. I. Shakhovsky). The attempt is made to reveal prospects of contemporary linguo-cultural study of Fet’s poetic

Aim. To identify similarities and differences in the musical organization of A. Fet’s and B. Pasternak’s 
lyrics.

Methodology. The analysis of works dedicated to the study of the figurative system of A. Fet and 
B. Pasternak is conducted. The main content of the study is the analysis of lyrical works. Special attention is paid to B. Asafiev’s musicological works, where the way to analyze the common sources of melody in lyrical and musical texts is indicated. The methodology consists in revealing common motifs and images of the poets’ artistic system. 
Results. It is concluded that the ways of organizing poems are similar, but methods which relate the 
music of nature and lyrics in the poetic world of A. Fet and B. Pasternak are different. Despite the obvious similarities in the perception of the meaning of sound, the sources of different rhythmic patterns are 
revealed, which makes more comprehensive understanding of Fet’s and Pasternak’s authorial concepts possible.
Research implications. The research on the understudied aspect of the works of A. Fet and B. Pasternak is updated. The results can be used in universities when studying the course on the history of Russian literature of the 19^th and 20^th centuries.

Aim. To identify lexical transformations in the speech of Soviet and Russian football commentators in the context of sociocultural change.
Methodology. The analysis is based on archival broadcasts of football matches spanning the period 
from 1987 to 2024 (featuring V. N. Maslachenko, V. I. Pereturin, V. V. Utkin, and V. S. Stogniyenko). The research employs methods of lexical, discourse, and comparative analysis, as well as elements of the linguistic cultural approach. 
Results. The findings reveal that political, cultural, and technological factors have significantly influenced the linguistic evolution of sports commentators. The study documents instances of anglicization, stylistic register shifts, and the emergence of neologisms.
Research implications. The research traces shifts in commentator speech as reflections of broader 
sociocultural dynamics. It raises questions about language norms in mass media and introduces previously unsystematized lexical material into the academic study of sports discourse.

Aim. To identify and characterize the idiostyle features that can be observed in O. E. Mandelstam’s autobiographical prose texts about his travels through Armenia. 
Methodology. The study utilized targeted sampling, descriptive-analytical methods, conceptual methods, comparative analysis, linguocultural methods, and dictionary definitions.

Results. The lexical and linguistic features of the author’s autobiographical prose are analyzed. Through the study of his journalistic and autobiographical works and research on the author’s language and 
style, key features of O. E. Mandelstam’s idiostyle were identified – the use of Armenian cultural imag
ery and the exotic lexemes that embody them to convey the travel theme and express attitudes toward 
seen things.
Research implications. The materials of the article and the obtained results can be used in both the 
study of the idiostyle and idiolect of O. E. Mandelstam and in teaching the linguistic disciplines such as 
“Stylistics of the Russian language” and “Language of Fiction.”

Aim. To determine the internal syntactic forms of a phrase, which is understood as an operational and semantic unit, by tracing the diachronic path of the transition of computer anglicisms into the Russian 
language environment, analysing the features of the appearance and reproduction of new information facts in different periods of the generation of the phrase, as well as to show its indispensable role in the development of thought and language.
Methodology. Genetic methods, observation and comparison are the main research methods. During the study, borrowed computer phrases from the English language were analysed.
Results. In the course of the work, three stages of the integration of computer Anglicisms into the Russian language system were identified and characterized. At the first stage, the lexical structure is 
transferred, and the syntactic scheme is reproduced, at the second stage, the reproduction of the lexical structure and the producibility of the syntactic scheme are combined, at the third stage the producibility 
of the lexical structure and the producibility of the syntactic scheme. Generally, the semantics of Internet terms always dominates the syntactic form, and their interactivity confirms the need for russification of 
Anglicisms, since in the Russian language system the most productive and important unit is the word combination.
Research implications. The analysis of Internet computer neologisms contributes to the understanding of the formation of a phrase both from the lexical side and from the syntactic side.

Aim. To explore how the topic of family and traditional values was presented during a challenging period in Russian history – the Petrine era.
Methodology. The analysis focuses on the poetics of female character development in A. N. Tolstoy’s novel “Peter the First.” In the study tragic destinies of women are central. Analytical and comparative methods of literary text analysis are employed. Special emphasis is placed on the portrayal of the young Tsar’s favorite, the German Anna Mons. Particular attention is given to the author’s juxtaposition of two traditions: Russian and Western European. Through examining the novel’s exploration of familial and 
romantic relationships, the analysis demonstrates how Tolstoy guides readers toward understanding the broader spiritual and moral dimensions of life during that period.
Results. The study confirms that issues of family, marriage, and gender relations possess a spiritual foundation and occupy a central place in Tolstoy’s extensive body of work. A detailed analysis helps illuminate one of the author’s key themes – the pursuit of happiness and love, whose absence brings suffering to individuals of all social strata, from royalty to commoners. The work argues that these elements are vital to the existence of the state.
Research implications. The significance of the study lies in its in-depth and concrete interpretation of the artistic embodiment of the stated theme. The research reaffirms that spiritual concerns hold a prominent position in A. N. Tolstoy’s works.

Aim. To analyze and comprehend the characters of A. S. Pushkin’s tragedy “Boris Godunov”: the Russian chronicler Pimen and the unnamed Polish poet.
Methodology. The article is based on a comparative approach and is made to highlight those components that reveal the essence of the characters mentioned above, to use the method of their comparative characteristics formulated in numerous works of Russian literary scholars and researchers of Pushkin’s playwriting. 
Results. It is concluded that in the tragedy “Boris Godunov” Pushkin managed to realize his own requirement which he presented to a dramatic writer: “... to resurrect the past century in all its truth.” The 
Russian chronicler, the Polish poet, and the Pretender, who is somehow connected with these characters, are not simply historical; they are endowed with artistic authenticity and remarkable psychological truth. Pimen’s lines, in fact, take a lot of space in the scene “Night. Cell in the Chudov Monastery”, and the court poet has only one line in the scene “Krakow. Vishnevetsky’s House”, but readers get a complete picture of each of these characters.
Research implications. The novelty and originality in the depiction of both Pimen particularly and Pushkin’s amazing ability to mentally transport himself to the beginning of the 17th century were reflected, thanks to which Pushkin recreated a generalized image of a Russian monk-chronicler, imbued with a deep religious mood, and on the other hand, depicted a flattering Roman Catholic poet with several but expressive strokes, ready to please anyone, even a dubious and self-proclaimed prince, with his “Latin verses.” The practical significance of the study lies in the fact that the observations and conclusions contained in it can be used in further study of Pushkin’s tragedy “Boris Godunov.”

Aim. To demonstrate how P. A. Florensky’s philological legacy anticipated the French theory approach (R. Barthes, M. Foucault) to Flaubert’s oeuvre.
Methodology. The study employs comparative historical analysis with elements of close reading. Florensky’s thought is described within contemporaneous intellectual debates, which are then juxta posed with discussions in French theory. Biographical circumstances are considered as sources of philological inspiration, emphasizing that during pivotal historical periods, this existential subtext of literary reflection may come to the forefront.
Results. The analysis reveals that Florensky’s approach to Flaubert’s visuality constitutes a systematic philological examination that accounts for the generic specificities of hagiographic literature and realist 
narrative, as well as the lived embodiments of these scripts. For Florensky, as well as for French theorists, the world is a text which may abruptly manifest itself in in the destinies of people under certain conditions. However, while French theorists correlated text with other texts, Florensky aligned it with ritual.
Research implication. It has been shown that the hermeneutic method of Russian religious philosophy 
reveals various scenarios of redemption, which makes clarification of the relationship between the author and the hero in aesthetic production possible.

Aim. To reveal the spiritual idea that became a source of sense and pathos of the Mikhail Lermontov’s poem “Borodino.”
Methodology. The creative and literary sources on writing of the final text about Battle of Borodino (1937) are revealed, the comparative analyses of their historical and artistic context is given, the structural and thematic features of the poems “The Field of Borodino” and “Borodino” are defined, the thoughts about character and reasons of the changes and deepening of ideal and artistic components of the topmost text are advanced. The building components of the poem (strophe, language, idea) are identified. The literary-historical, comparative, textual methods are applied. 
Results. The source-based approach to the poem “Borodino” is accomplished, the process of creation 
of the text (the focus of attention of the theme, historical perspectives, the system of lyrical subjects, 
strophic organization, national and spiritual ideas) is analyzed.
Research implications. The data of literary-historical character of the Mikhail Lermomtov’s interest to the battle literature (Homer, Lomonosov, Scott, Byron), the process of work on the theme from the Moscow’s to Petersburg’s periods of poet artistic life are introduced to scientific use, as well as poetical statements, methodical ways of revealing of spiritual ideas in artistic text are being worked out.

Aim. To review analytically the image of the East in A. S. Neverov’s novella “Tashkent, the City of Bread” and to study the plot-forming motif of the protagonist’s journey to Uzbekistan.
Methodology. The research involved comparative, historical, literary, and biographical methods. Analysis of the semantic accents in Neverov’s story based on the writer’s observation of his compatriots’ fate during social historical upheaval in post-revolutionary Russia in the 1920s is the main concern of the study.
Results. The analysis has showed how the main character’s worldview was changing from an idealized understanding of the East to a realistic view of the world, and then to Russian peasants’ behavior again in the finale of the story. This aspect is revealed in the text due to attention to numerous plot-compositional links and details that made it possible to trace the image of the East, tragic and dramatic situations, and fellow travelers encountered by the character. Based on the results of the study, a conclusion was drawn about the common work path of Russian and Eastern people.
Research implications consist in defining the semantics of key episodes in the story, reflecting the correlation between the protagonist’s journey and the proportion of thousands of people caught up in the destructive changes that engulfed the country. Practical significance lies in the potential application of the article’s materials to interpret Neverov’s late works in relation to the historical reality of which he was a contemporary, as well as in the educational and pedagogical work of university and schoolteachers.

Aim. To identify specifics of literary impressionism in I. S. Shmelev’s prose of emigrant period with a focus on the Orthodox spirituality of the novella “The Pilgrimage” and the novel “Summer of the Lord”; to reveal how the writer rethinks the sensual nature of religious experience through the play of light and shadow, colour accents, and momentary perception, as well as to identify the unique contribution of this aesthetic practice to the process of modernization of Russian literature.
Methodology. Comparative historical analysis, combining elements of narratology, an intermediate approach, comparison with the techniques of Impressionist painting and a phenomenological study of 
religious experience are used.
Results. Shmelev’s synthesis of Orthodox imagery with impressionist poetics is revealed. Subjective 
impressions deconstruct objective reality, light-color tropes and synesthetic images visualize the sacred, using the principles of pictorial impressionism.
Research implications. The theoretical significance of the study is related to analysis modernist artistic techniques and traditional realism in Orthodox literature. The findings of the study are applicable in courses on literature of the Silver Age and on the history of literature of the Russian diaspora.