The article is devoted to realization of the concept “Fear” in Ambrose Bierce's cycle of war short stories. The focus is on the problem and thematic complex of war short stories of the American writer in the connection with the embodiment of the dominant concept «Fear.» We study the Ambrose Bierce's artistic techniques that determine the structure of the dominant concept. The study of ways to implement the concept «Fear» helps to understand the specificity of Bierce's worldview, which in turn allows to trace characteristics of the literary process in the US at the turn of 19-20th centuries.

The article deals with reception of Lermontov’s spirituality in the Russian literary criticism of 19th - early 20th centuries. The author refers to the definition of spirituality and specifics of its manifestation in Lermontov’s poetics, starting with a notion that the process of secularization of Russian literature in the 19th century led to development of a special quality that unites within itself religious and secular, common and private. Overview of Russian criticism from the first reviews on Lermontov’s novel «Hero of Our Time» and “The collection of Poems by M. Lermontov» (1840) by V. Belinsky, S. Burachok, S. Shevyrev demonstrates the evolution of critical views on Lermontov’s creativity in the period of 1840-1880s. The author of the article analyses in detail the understanding of Lermontov’s originality in critical literature at the turn of 20th century until mid-1910s (V. Soloviev, D. Merezhkovsky, P. Sakulin, S. Shuvalov).

The article shows how Karamzin’s references of clothing, including his “love of Asian-style dressing-gowns” (in his letter to P. Viazemsky), are connected with the theme of internal independence, changes in life and outlook, and transformation of the entire image of the person. Home clothing becomes a philosophical symbol with complex meanings: contempt for hollow vanities, apology of freedom and peace, unhurried creative work in the comfort of one’s home, disappointment in European civilization, interest in Oriental culture with its centuries-old traditions that ensure stability. The motif of clothing intertwines with that of fashion as endless and meaningless transformation (in politics too), for the sake of renovation alone.

The elements and the methods of the construction of fantasy world are revealed and examined in the novel «Incomplete manuscript» of Kamal Abdulla, the prominent Azerbaijani writer. The ancient Turkish epos «Dede Gorgud» and notable version about life of shah Ismayil Hatai form the basis of writer’s conception. The writer s scientific and creative interests are closely associated with this epos. Having moved the heroes to the modern world, the writer has reconsidered the traditional myth. The article discusses the myth as an ethno-aesthetic and structural foundation of the genre. The epic heritage reference, different interpretation and development of mythological archetypes and motifs are one of topical issues of the modern literature.

The article discusses the chief problem of the life and literary heritage of Boris Poplavsky, a young poet of Russian Abroad, and traditional for Russian literature conflict between external and internal space, which formed metaphysical foundation of existence. The poet understands that it is impossible to overcome the original binary oppositions of the outer / inner world hence his lyrical hero experiences reality in its tragedy and suffers from his existential solitude. The idea of art synthesis by V. Bryusov transformed into synthesis of literary trends which caused the originality of B. Poplavsky’s poetry.

The article presents a comparative analysis of the behavior of the characters, who live according to the laws of a false life, and their antipodes in the stories of L. Tolstoy «Death of Ivan Ilyich», «Master and Man». The key motive - lightness / gravity - refers to the external behavior of the characters and reflects their internal settings; moreover, the lightness becomes a sign of faith. In the analysis of these figurative and semantic oppositions, reference to earlier texts of the writer becomes productive, and it proves connection of lightness and the birth of a new attitude.

The study first explains the essence of the proposed methods of literary analysis: textgenerating and text-creating. Text-generation and text-creation are treated as universal ways of changing and combining a number of methods of philological, linguistic and literary analysis. It also points to the distinction between textual criticism and text-generation because textual criticism and text-generating analysis are research methods of different scientific knowledge fields: textual criticism is a branch of Philology, literary auxiliary discipline, but not a method of literary analysis; text-generation in this article is offered to be considered a universal method of literary studies.

The article analyzes the features that define the genre of A. Kuprin works «Wheel of Time», «Jeanette», «Junckers». It points out and describes the signs of the psychological novel on the material of «Wheel of Time» and «Jeanette», and upbringing novel on the text of the novel «Junckers». The author comes to the conclusion that the subjectivity of the narrative, narration from the hero perspective is a tool for the analysis of life and describes it as one of the signs of the writer’s creative manner.

The article deals with the unknown to the scientific community manuscript. This manuscript is the earliest translation from Hebrew into Russian of the Old Testament which was done by Mikhail Fotinskiy in 1806. The author studies M. Mendelssohn’s German translation as a possible text source that was used by the translator and analyzes its meaning for the translation.

The article deals with explication of the model of the lexical semantics of the Russian language - non-derivative and derivative, with concrete subject or abstract semantics. It is noted that the derived words must be interpreted through their producing words, and derivative ones taking into account the concreteness/abstractness of the semantics of the framework. The 2nd part of the paper examines the following theses: (1) the meanings of the words in the dictionary should reflect the real semantics of their use, (2) assume a certain consistency of the filing of the meanings of words of one lexico-thematic groups, (3) take into account the scientific advances in the development of the theory of lexical meanings, and (4) be focused on the practice of teaching both native and foreign languages.

This article analyzes the advertising texts in formal and contextual aspects. It identifies the specifics of non-self producing textual units and defines compositional and structural types of secondary nature as a separate type. Basic features of such speech compositions (the transformation of the source form, its lexical components, pragmatic orientation, etc.) are described and analyzed. From the point of view of text building on the basis of certain syntactical patterns several compositional and structural types of secondary nature are differentiated. It belongs to the discourse of everyday conversation, scientific, journalistic, official and literary discourse.

The paper reviews the problem of tautology and pleonasm in modern Russian and suggests the systematization of their integral and differential features. The research is based on the leading concepts of understanding the phenomenon of lexical redundancy in the Russian linguistics, as well as on the analysis and classification of the modern language data. The etymological review of terms, the examination of relevant features of tautology and pleonasm, the study of their functioning on different language layers make it possible to assert that tautology and pleonasm are two substantive phenomena in modern Russian. Besides, the author makes an attempt to work out her own definition of the notions under study.

This article discusses the components of the linear structure of a complex syntactical whole - germ, identifies its properties, qualities, features of functioning. Particular attention is paid to the volume characteristic of a germ, that is measured by principles and parameters on the of the field of linguistic tension and the whole complex germ outlined in the course of research. Germ-word having the smallest volume at the highest concentration of linguistic features, is considered in the aspect of the most important principles for determining the volume of germ in view of the values which it acquires in a particular complex syntactic whole, and taking into account the functional and semantic conditions.

The article examines the most frequent visual verbs видеть, смотреть / глядеть (to see, to look / gaze) in Fedor Tyutchev’s poetry. Turning to the notion of perceptive speech situation the author does a detailed analysis of lexical semantics of these verbs. The author pays thourough attention to the words around the verbs, takes into account context peculiarities of each verb and examines differences in the usage of synonymic verbs смотреть / глядеть (to look / gaze). The author comes to the conclusion that visual verbs видеть, смотреть / глядеть (to see, to look / gaze) are used by the poet to accomplish different artistic goals.

The article discusses the means of expressing the lexical meaning, in particular, about the ancient evaluation structures - the combinations of instrumental case limitations. These combinations consist of a short or full adjective (in some cases, participle, noun, verb) and a noun in the instrumental case. Our material shows that in the poetic texts of K. Balmont the combinations of instrumental case limitations continue to be used in the evaluation function (aesthetic, ethical, emotional), despite the fact that by the end of the 19th century they cease to be the main means of expressing evaluation.

The article represents aspect multilevel analysis of meanings of a person. It summarizes nominative, communicative and grammatical meanings (morphological and syntactic). The analysis of language examples made from these positions shows that the specified meanings can not coincide and even to contradict each other. The reason of it is the polysemy of the 3rd person different meanings of which can be presented in a sentence separately whereas the 1st and 2nd persons have complete meanings.