The article describes the synthesis of arts modernist principle in the poetics of Gaito Gazdanov's novels. The analysis of motives and units of text helps to establish the fact, that music is not just a literary detail, but also a method of the narrative structure of Gazdanov's prose. The study is based on the material of the novels “An Evening with Claire” and “Evelina and Her Friends”. As shown, music for Gazdanov is connected with life-creating theory and becomes a marker of self-determining artistic manner. This demonstrates, that in his early writings we can see the traces of symbolist principle «world as music». In later works, Gazdanov preferred belletristic style, but still put music in the centre of his works and used it as a “tuning fork” for his art.

This article examines the love lyrics of the late period of Ryurik Ivnev’s work (alias of M. Kovalev) and reveals the main features, motives, moods, structure of the works and their difference from the poems related to the early period of creativity and devoted to love themes. The motives of parting with a loved one, rethinking world outlook landmarks, the search for the origins of true love and the peculiarities of its embodiment in life, the reasons that determine this feeling, the cyclicity of awareness of being - all this is of interest to the poet. As a result of the analysis of poetic texts and the comparison of late and early works, it is proved that the philosophical understanding of life by Rurik Ivnev changed, which is reflected in his work.

The article presents a new material on the actual problem of the creative dialogue between the writers of Russian Diaspora and the Russian literary classics of the 19th century. The research focuses on Lermontov’s discourse in prose of M. Ageyev, the writer of the younger generation of the Russian writers of the first wave of emigration, is introduced into scientific circulation. The main content of the issue represents the analysis of architectonics, themes, motifs of Ageyev’s and Lermontov’s texts. It’s concluded that the Lermontov’s discourse allows M. Ageyev to form an extra-textual narrative about the dialogue of generations of the first third of the 19th and 20th centuries.

The article discusses the “bear” plot in the works of L. Tolstoy. This plot is realized in novels “War and Peace”, “Anna Karenina”, stories “Three Bears”, “The Godson”, and also in treatises “What I believe” and “The Only Way”. In the novel “Anna Karenina”, he supports the courses of Konstantin Levin and Kitty, interfacing with matrimonial symbols and mythological representations of the Slavs. In the novel “War and Peace” his character is Pierre Bezukhov, and in the late works of L. Tolstoy bears are included in the folk story, illustrating the idea of non-resistance to evil violence. In all these cases, “bear” plot contains star symbols, which are traditionally associated with the search for the meaning of being in the literary world of L. Tolstoy.

The article deals with the first in the Russian literature specialized edition devoted to Russian female writers - “The Bibliographic Catalogue of Russian Female Writers” compiled by S. Russov (1826). Russov's catalog manifested emerging in 1820s interest in the history of women's literature. The article analyzes the sources used by the compiler of the catalogue as well as the leading principles of selecting personalities. The main goal, set by Russov, is to preserve the maximum possible number of writers' names (in the broadest sense of the term).

The article made an attempt to comprehensively analyze the image of the desert in A. Carter's works. “Nights at the Circus” and “The Passion of New Eve” were chosen for the analysis as the novels in which this image is represented the most vividly. The work considers the theories of ecocriticism that give us an opportunity to take a fresh look at the meaning of desert as a phenomenon in nature and its symbolism in literature, philosophical interpretations of the literary images of desert lands and literary observations of the researchers of A. Carter's creativity on this issue. The analysis led to the conclusion that the English writer, first of all, uses the landscape to picture the mental state of the heroes of her work. The desert, assuming certain emptiness, reduces the personality of the characters to the position of “tabula rasa”. So this landscape becomes a catalyst of spiritual searches and transformations of the main characters.

The article is devoted to the process of formation of so-called Moscow School of Lermontov Studies. The author seeks to trace the process from 1840 to the middle of 1914. The author argues that this scientific school originated within Moscow University starting with professor S. Shevyrev’s analyses of the novel “A Hero of Our Time” and the book “Poems by M. Lermontov”. This work was continued by professors N. Tikhonravov, V. Klyuchevsky, P. Sakulin and N. Brodsky. The author pays attention to the fact that each of the mentioned scholars was a student of his predecessor when studying literature at the University, which indicates the integrity of traditions and helps to follow the evolution in estimates that the legacy of Lermontov experienced. The latter can be viewed from three perspectives: as an expression of a position of a certain scholar, as the reflection of the views within the scientific school, and as the development of Lermontov studies in general. The views of the scholars are analyzed in the following areas: the national character of Lermontov’s writings, his place in Russian literature, the image of Pechorin, national idea.

The article is devoted to the analysis of the semantic structure of lexemes with the common Proto-Slavic root rek- / rok- in the Russian language of the 18th century. The study of the history of root groups allows us to approach the completion of the main task of the modern historical lexicology - the description of the Russian vocabulary in general as a developing phenomenon, the definition of qualitative (actually semantic) and quantitative changes in the vocabulary of the language throughout its development. On the basis of lexicographical sources, the main semes that form lexico-semantic groups of words with the root of rek- / rok - are singled out.

The article deals with the system of expressive means in Russian-language texts. The purpose of the article is to reveal the system of expressive means in Russian-language art texts of Azerbaijani authors, to analyze the features of using these means and ways of introducing them into the text. The article shows that figurative means in the Russian-language text testify to the authors' desire to create their own unique, non-standard language with the aim of maximizing the full expression of one or another artistic image. It is concluded that in general, the means of artistic expression create an emotional “picture” of the Russian-language text, draw the image of the author, who gives the text a national flavor through the use of phenomena and realities that differ from Russian reality.

The article describes the functions of addresses and describes their arsenal in the communication of participants in the game forum. It is found that most often addresses are spoken words with friendly or familiar shade, denoting a group of people and at the same time being identifiers of participants in the “their” system. Addresses, in addition to the main nominative function, have also vocative, motivational, socially-regulative, emotive and evaluative-characterizing functions.

The article is devoted to the study of the specifics of the functioning of creolized texts, with the help of which the content of the concept “HOMELAND” is revealed in educational publications on Russian as a foreign language. The role of verbal and non-verbal elements of creolization as a means of presenting this concept to students is analyzed. The classification of thematic blocks reflecting the content of the “HOMELAND” concept in the space of the Russian language textbook as a foreign language has been developed. An attempt has been made to systematize the basic lexical units that make up this concept. The methods: method of calculation, analysis, synthesis, observation, comparative method.

The article discusses the use of words with semantic components “memory” and “oblivion” in the poetic language of N. Nekrasov and A. Akhmatova. The authors support the idea that any fiction text realized the general aesthetic memory principle that connects with the preservation of the world experience accumulated by culture. The study showed that there are a lot of common memory and oblivion symbols in Nekrasov’s and Akhmatova’s poetry that allow to understand the deeper meaning of their works. Such as, for example, images of abandoned flower and destroyed letter are oblivion symbols. However, in individually-shaped system each author reflects his or her personal experience and speciality in style. Metaphorical memory patterns that were identified in the article can serve as a basis for further studies of poetic texts.

Since the Golden Horde in the early (before 18th century) period of its development, the Kumyk language differed from other not-Turkic (Nakh-Daghestan) languages of the region by its higher level of the functional development. It also was used as the basic means of interethnic dialogue and the Russian population of the region which have appeared here in the second half of 16th centuries. The objective of the article is to reveal and compare by the intensity degree the lexical consequences of the early (before 18th century) contact relations of the considered languages. It has been established, that, as consequence, even in a partial bilingualism situation with Russian, Kumyk has had a much bigger lexical influence on Russian, than vice versa.

Development of the structure and stabilization of the ways how to signify special names with denotative component in the making of terminology systems (17-19th centuries) are observed. The conceptual model with meaning ‘direction / change of the wind direction due to points of the compass’ is analyzed. By the example of this model, some features are described: significance of its components; variation of components depending on objective factors, which regulate the choice of means of expressing due to the absence of stable terms; and their variation depending on subjective reflection because of author’s communicative and pragmatic purposes.

Аbstract. The article is devoted to the problem of describing the detailed comparisons with the conjunctive relations in the language of Russian poetry. The author justifies the need to study comparisons of this type and the appropriateness of using the term “conjunctive comparisons” for their naming, clarifies the composition of the markers of conjunctive comparisons. Next, the work analyzes the cognitive features of conjunctive comparisons, clarifies the semantic differences between postpositive and prepositive variants. The author pays special attention to describing the stylistic effects that arise in the texts of Russian poets when using conjunctive comparisons.

This article is devoted to the problem of composites-germanisms in modern Russian. It raises the question of the formation of analytical forms of Germanisms in modern Russian: the concept of a composite is defined, the typology of composites-germanisms is considered, and their structural and semantic classification is given. It is shown that in the language system of the Russian language there is a formation of mechanisms for constructing new words according to the models of composites-germanisms both of the ordinary and occasional word-formation. Analysis of the functioning of such words leads to the conclusion that the new word-formation models have expressive-evaluative connotations in the Russian language. The results obtained can be useful in the study of such disciplines as lexicology, word formation, stylistics.

The article is devoted to the description of the ratio of the hard and soft pronunciation of consonants, in addition to the borrowed nouns and their derivatives (mainly on the example of a pair kupe - kupejnyj). The author describes the functioning of the word kupe - kupejnyj in synchrony and diachrony, comes to the conclusion that this pair of words could start a special morphological alternation in the Russian language, but the phonetic trends of the modern Russian language prevented the formation of this alternation. The word kupe in the Russian language was borrowed at the beginning of the 19th century initially in the meaning of ‘double carriage’, later it was used in the usual sense for us as ‘room in the car for passengers’. The word kupejnyj appears in the Russian language only in the mid-twentieth century.