The article draws attention to the important aspect of the development of modern Russian language associated with increased analytical tendencies in it, resulting in an increase in the importance of particles in the structure of the sentence. One of the particles that can with a notional word create an analytical construcion is an expressive modal particle не... ли, that realizes two basic meanings: assumption and intention. The article deals with the features of combination of particles не... ли with different parts of speech, semantic and emotional shades of assumptions and intentions, as well as the ability of the particles не... ли to perform a function of a conjunction - to be a means of union of predicate parts of a complex sentence.

Proximal personal meanings are guided by a reference point, which directly represents a speaker in the discourse from the first person or implies that the speaker takes over-text position in the narrative from the third person; conventionality of personal meanings is manifested in a direct and indirect speech narrative from the third person: language means with the meaning of the first and second persons correspond to the third person and the third person can obtain the meaning of persons, even more distant from the speaker; 3rd person in the narrative created by the third person - a special proximal meaning, which is not perceived by the opposition to the participants of the speech act, as it happens in other cases, but as a conditional point of reference in the representation of all personal meanings.

The article analyses the new lexicographic edition: Шетэля В.М. Историко-этимологический словарь русской лексики конца XVIII-XIX века: в 2 т. - М.: Прометей, 2014. This dictionary is considered as a source of information about new lexical units entering the Russian vocabulary of the 18-19th centuries. While analyzing the dictionary structure and its vocabulary it is pointed out that this dictionary is a lexicographic textbook having inherent author’s singularity and some individual features which make it an invaluable source of historic data as for the peculiarities of the Russian vocabulary development. The article highlights that the edition in question can be of interest to people concerned in different fields of scientific research.

The article presents a typology of business speech cliches as structural elements of the professional communication language. The article describes the types of communicative and nominative cliches used in the formal language. Cliche is considered as a stylistically marked syntactic unit, characterized by its conventionally distributed structural-semantic components. The linguistic status of standardized language units used in professional communication is accounted for by their structural and functional characteristics, the specifics of their composition and the peculiarities of their semantics.

The article is analyses peculiarities of functioning of structures with imperative meaning in the Slavic literary monument of end of 11-12 century - Life of Feodosy Pechersky. The use of imperative structures in the written record is an important criterion to characterize grammar norm of pre-national period of literary language. The strict norm of church Slavic language of 12-14 centuries supposes the usage of a verb in an imperative mood as well as cunstructions «да + imperative» and «да + present verb» to express imperative meanings. Reducing of the strict norm of Old Russian literary language is performed by means of «ат/от + present form/ subjunctive mood» structure along with imperative and «да + present verb» structure.

The article is devoted to the analysis of the peculiarities of artionyms (titles of works of musical art and music publications) in the texts artistic works and letters of V. Odoevsky’s as a fragment of linguistic picture of a world «Music». The set of classification criteria allows to study artionyms in the V. Odoevsky’s heritage from different linguistic points of view. The author comes to the conclusion about the artionym’s display set of the cultural-historical context of V. Odoevsky’s musical activity, state of the music literature of the his life period, conditionality of comment of artionyms by author’s pragmatic communication.

Art conceptualization is one of the main questions in cognitive linguistics. The article deals with concept «EAST» and the word «East» in the fiction world of Ivan Bunin. Author’s verbalization of an individual conceptual picture of the world in works of art is a reflection of a national picture of the world of the ethnos. The article presents the idea of conceptualizing the notion, expressed by metonymic lexical-semantic variant of the word East in connection with the actualization of a base seme ‘space’.

Comparative constructions are the most productive way of expressing comparative in the Russian language. A comparative construction complicates simple sentence by isolation of secondary members. Individual author’s comparisons dominate in A. Pushkin’s poems, comparisons can be figurative (most of them) and representing. Individual author’s comparisons are subjective creation of the author, based on associative parallels. The most frequent in use are conjunctions of real modality.

The article is devoted to the aesthetic principles of Lermontov. Lermontov’s poems of 1828-1832s are seen as a reflection of the author’s views on creativity, on the nature of poetic talent, as well as the fate of the poet in the world. Aesthetic system of Lermontov is characterized in terms of the categories of transcendent; for the poet creativity is of a transcendent character, which was manifested at various levels of the text, from the characteristics of the construction of a lyric situation of poet’s initiation to the general laws of constructing a picture of the world in his poems.

The article on the basis of the novel «Lily in the Valley» solves the problem of autobiographism of Balzac. It discusses different approaches to literary and autobiographical narrative methods of self-representation in the text. The paper presents several possible interpretations of the phenomenon of the author: the real person and impersonal authority, that finds itself in the text. The article indicates the features of the authorial «I» in the works of Balzac and its organizing role in the novelistic series «The Human Comedy.»

The article examines the views of the German literary and cultural theorist Walter Benjamin on Russian literature of 19th and 20th centuries. Referring to the works of F. Dostoevsky, N. Leskov, I. Bunin, M. Aldanov, as well as of the writers of Soviet Russia, Benjamin in his polemical criticism and journalism seeks to disclose the originality of Russian literary picture of the world. Focusing on the contemporary literature of the 1920s, the critic sees in the literature of Soviet Russia epochal changes leading to the emergence of a new type of author and reader, to the birth of new genres, unknown in German and European literature.

The article discusses the final novel of I. Shmelev «Way of Heaven» in terms of its genre. The genre of the novel synthesizes features of a living, a diary, a confession, a teaching, a preaching. Besides components hagiographic literature the writer used the classic novel line and created a new genre in exile - «spiritual novel,» which was innovative in the author’s book. Researchers of I. Shmelev’s works, including his contemporaries, perceived the final product of the writer ambiguously and indicated some inconsistency in the use of various elements of various genre forms.

The article is devoted to features of literary criticism of the political writer and the publicist M. Menshikov (1859-1918) in a polemic context about the Russian literature of 19-20 centuries. The author considers Menshikov’s article «Critical decadence» (1893) in which the critic protected from A. Volynsky the critical heritage of V. Belinsky and the Russian democrat critics of 1860s, disagreed with interpretation of Volynsky of A. Chekhov’s «Ward № 6». The author shows that in the article «Slander of adoration» (1899) Menshikov proved an inaccuracy of D. Merezhkovsky’s interpretation of Pushkin’s poem «The poet and crowd» («Common people») (1828) and the poem «Bronze Horseman» (1833). Merezhkovsky considered Pushkin a pagan.

In the article, W. Faulkner’s plant symbolism in the novels “The Sound and the Fury” and “Absalom, Absalom!” are analyzed as a part of Southern Eden myth in comparison with the traditional plantation novels of G. Tucker “The Valley of Shenandoah or, Memoirs of the Graysons” and J.P. Kennedy “Swallow Barn”. Classical plant metaphors of American Southern novel are in the focus of attention, as well as their reinterpretation by Faulkner and his image of the South as lost and degrading Garden of Eden.

The triad Music-Word-Myth is interpreted as a sacral unity of the three equivalent, interpenetrative measurements. The main idea, which is planned to be represented in a several articles, lies in the fact that through the cognition of the multiple system of the triad is a way of measuring of the earth and the other world, the immersion into the area of the God's and Devil's powers, the understanding of Christ and Antichrist. This article is devoted only to the problem of the inner multiple system of Myth. The Myth here is considered as a unity of the image, symbol and Eros.

The article deals with musical techniques used by the author for various artistic purposes. Sound and music motives are expressed in the structure of the cycle, in the imagery and sense component of novels. Significant is the motive of silence, especially important in the «war trilogy» of the cycle. Similar techniques allow Powell to create a unique literary work that embodies the concept of time on the border of several arts. Music of time in the cycle is a reflection of the philosophical concept, which A. Powell adhered to throughout the work on novels.

In the article, the features of Druzhinin’s prose in the light of the myth about Pygmalion are revealed. The literature of the 19th century showed a particular interest to this mythological plot, nevertheless Druzhinin’s name wasn’t investigated in its context. However, the «second line» literature always reflects the most important features of an era, to which we can refer the cultural strive to the development of popular mythological models. The authors of the article come to a conclusion that the references to the myth of Pygmalion in writer’s texts is associated mainly with social problems.

The article is devoted to two lyrical cycles of poet and young symbolist, S. Solovyov, «The Olive tree Galilee» and «Golden death» from the collection «Flowers and incense» (1907). The article analyzes in detail imagery poems and it is proved that the symbolic meaning in the lyrics of Sergei Solovyov was emphatically expressed in impressionistic style. Impressionistic features appear in the poet’s special lyrical experience of the Scriptures and of paintings of nature that keep the spiritual energy of the Creator.

The article is devoted to the relatively new literary concept of «the poetics of the atmosphere». The author considers the methods of realization of the poetics of the atmosphere in dramatic works, its relations with the different elements of the artistic whole (composition, time-space) in the dramatic poem «Pugachev» by S. Yesenin. According to the author of the article, the poetics of the atmosphere is the most important element of the artistic structure of the work, that is realized the artistic potential of «affection» (according to the L. Tolstoy’s undesrtanding).

The article examines the narrative structure of the K. Leontiev’s biographical novel of 1879 «Father Clemens (Sederholm) - Optina Hieromonk». Dictionaries’ data indicates the scope of the notion of «narrative» that includes event and the time plans. It is proved that on lexico-semantic level dominant means of creating a narrative form in K. Leontiev’s story are action verbs and adverbs of time. It is confirmed that the narrative as a special functional-semantic type of speech most adequately meets the targets of objective reflections on the Genesis and presentations of formed beliefs and sustainable values.

Literary analysis of the first works of M. Bulgakov. A series of stories about medical practice formed the basic traits of creative credo of Bulgakov as an artist. The writer analyzes the life of a young doctor and shows the desire of the individual to be in harmony with the world and himself. Mercy becomes a leitmotif in M. Bulgakov’s works. In all the stories of the cycle, in the foreground are the feelings of a man who every day faces the people whose lives and health are in his hands. The idea of humanism is the basis of the creation of these stories.