The article deals with the problem of teaching reading as a process of understanding the text through its adaptation without detriment to the content followed by transition to full artistic work provided with explanation, interpretation and commentary. Commentary that contains necessary and sufficient information, be it linguistic, literary, historical, ethnographical, etymological, is apt to arouse interest in reading and in the language. In our article, commentary is considered as a powerful teaching means as well as a guide to books which are the glory of the Russian culture.

This article examines the history of the formation of the predicate izyskati connotation in the Russian literary language, as well as its cognate words. Entries from the «Dictionary of the Russian Language 11-12th centuries» served as a material for the research. As a result of the study the author comes to the conclusion that the formation of semantic features of the word is gradual, and their coherence is marginal; explication of investigation language contexts is observed only in the second half of the 12th century, when it becomes possible to represent the term system «the search for a man».

The article compares the spatial and temporal characteristics of a real and a virtual reality in the perception of the subject of a narrative, that find reflection in the modern literary texts of the fantasy genre. On the example of the cycle "Labyrinths of Echo” by Max Frei, the article shows the attitude of the protagonist to the real world in which the character has not found himself, and to the unreal world in which Max feels happy and finds power, love and friends. Chronotopic opposition of the virtual world, the dream world and the real world in the analyzed texts has a subjective assessment value.

The article deals with parceling, as one of the most productive means of expressive syntax, typical for Sergey Dovlatov's prose. The author pays special attention to the description of parceling of complicating components of a sentence and semantic relations between parts parceling constructions. Lexical items such as conjunctions and parentheses are reviewed to characterize semantic relations. The analysis of these relations leads to the conclusion that parceling constructions in text provide considerable opportunities for the author's concept realization.

Figurative means of a poem represent an illustration of the Lermontov's oratorical style. They are grouped around the concepts of good - evil, love - hate, God - the devil (demon), knowledge - doubt, eternity - a moment. In the lexicon of the poem antonyms occupy a significant place. Comparisons, metaphors are vivid and precise. The style of the poem is laconic and aphoristic.

The article focuses on the specifics of the semantics of impersonal genitive structures as a special kind of impersonal sentences in modern Russian. Along with the primary meaning - the nonexistence in reality of things and phenomena - they also express the actual impersonal and impersonal-modal semantics. Impersonal semantics in such structures is always present with a complex of negative and genitive components that form the bi-component principal member of the sentences. Context has a tangible effect on the syncretism of the semantics of impersonal genitive sentences.

The article is dedicated to the specificities of poetic text analysis. The artistic function of verbal nouns with zero suffix in poetic texts is analyzed. It's proved that the structure of a new formation, which corresponds to the morphological side of meaning, causes a new semantic process. The study introduced a new linguistic term - allotropic poetic text. Basic grammatical means, with the help of which new or changed meanings of linguistic units in a poetic text are represented, are analyzed.

In this article, we describe the impersonal sentences with the modal meanings of undesirability of action, impossibility of action, inexpediency of action, lack of need in action in the constructions not / was not / will not in the main part of speech expressed by infinitive construction. We show that in the sentences like that there is always a direct or an indirect reference to the person performing the action or person undergoing the action, there are used dative forms of a noun and a pronoun and other forms.

The article deals with the issue of means of expressing the value of a third person in the Russian language. There are special and non-special means of expressing the semantics of a third person. The special means consist of the personal pronouns, verb endings in 3rd person and subject-noun. Determinative, indefinite and negative pronouns, some species mononuclear sentences (indefinite personal and generalized-personal), as well as introductory modal components of the utterance belong to non-special means.

In the article, the author studies the main stages of evolution of complex epithet - figurative-expressive means, which reflects the basic tendencies of development of creative thinking: from mythological present in the folklore texts, to standard ones. The author traces how in the structural-semantic uniqueness of a composite unit the most vivid language processes found realization and played a pivotal role in the development of Russian literary language and predetermined the fate of a complex epithet.

The structures, in which category of identity is realized, have repeatedly been subjected to analysis. The subject of the article is compound sentences with identifying relationships between parts. The relationships between parts of these binary structures correspond to the categorical semantics of identity, and specific formal indicators reinforce this meaning. The author considers the joining-connecting, purely joining, as well as some adjacent structures.

The article considers the language tools for creating synesthesia in V. Odoevsky's novel «Russian nights». The object of our study is the synesthetic metaphorical images with music component in the semantic structure. The analysis of the detailed synesthetic metaphor leads the author to the following conclusions, the merging of two types of a synesthesia in one artistic image on the level of the idea of artistic and semantic synthesis characterizes V. Odoevsky as a romanticist; complexity of a metaphorization and polymodality of image transfer determines mastery of the writer and his understanding the specifics of musical art; the emotional assessment present in a synesthetic image and its use as a key position of the text-in-text proves the importance of a synesthesia as sense-generating element of the literary work.

The article is devoted to the peculiarities of functioning of temporal syntaxeme with the lexeme zarya on the linguistic material selected from the texts of I. Bunin. In the course of the analysis it is proved that only when temporal syntaxeme is based on the predicative centre of sentence and external context, the picture of perception of temporal plan can be complete. The similarities and differences in the use of analyzed syn-taxemes with semantics of morning and evening hours are reviewed. It is shown that the lexeme zarya creates syntaxemes not only with absolute and relative temporal meaning, but also with syncretic semantics. The analysis reveals quantitative prevalence of syntaxemes with the lexeme zarya, that contain meaning ‘start of a day'.

The following article is an analysis of the predicates used by K. Simonov in the novels «Days and Nights» and «One isn't born a soldier», by means of which the author has created the image of a burning and destroyed city during the Battle of Stalingrad, as well as predicative lexical units used to create contrast that enhances the vision of the destruction. The paper gives a detailed lexical comment on the Simonov's language use, which reveals the author's intention.

The article is dedicated to the problems of regional linguistics of Far North-East of Russia. In the article, the author analyses a group of lexemes - names of fish products, which were used on the northern coast of Okhotsk sea in the 1920s (this territory now belongs to Magadan region). The author gives detailed lexical and semantic analysis of the named lexemes, points out some peculiarities of their functioning in the time indicated in the article. The author specifies regional components of the semantics of analyzed lexemes, improves the explanation given in existing lexicographical materials.

The article presents the discussion of the problem of stylistic derivation in the modern Russian language on the material of derivatives formed by way of univerbation. The object of the study is the vocabulary of univerbs actively used at the beginning of the 21st century. The author addresses the problem of distinguishing stylistic univerbation from other types of compressive derivatives, establishes a system of productive derivational types of stylistic univerbation, within which stylistic derivatives are realized in the Russian language of the past decade.

The article is devoted to the genre of the epitaph in the works of Lermontov. The poems of the poet, written in the genre of the epitaph («Napoleon's Epitaph”, «Epitaph» («I'm sorry! Shall I ever see you again...»), «Epitaph» («Simple-hearted son of liberty...») are analyzed in the context of the development of this genre in Russian poetry 18-19th centuries, as well as in the context of the classical tradition. The author comes to conclusion about the uniqueness of the genre autoepitaph in the poet's work, and the relation of the Lermontov's artistic quest to tradition of V. Zhukovsky. The author also considers the question of the genetic dependence of epitaph from epigrams, the originality of the epic and lyrical beginning in epitaphs.

This article proves the feasibility of cognitive and value method in the study of the Lermontov's artistic world. It is argued that in the interpretation of Lermontov's text should be based on the main idea of the work; this idea goes back to the goal-setting of spiritually gifted person who aspires to the ideal of perfection. The central idea of the text forms a force field of work and serves as the ideological basis for the interpretation. Objectivity of understanding of Lermontov's works depends on the researcher's vision of the direction of semantic vectors in his works.

The article deals with peculiarities of interaction of works by V. Dahl and anecdote as folklore genre intensely influenced by literature and as a story about funny or remarkable incident. In particular, the tie between Dahl's character Evsey Lirov and a weirdo in folklore fairy-tale (short novel "Trouble-maker') is studied along with historical and family anecdotes ("Tales about times of Paul I”, "All round Talk”). Anecdote in Dahl's works keeps memory about its folklore routes due to the narration. At the same time it is based on literature tradition.

The article represents the spiritual world of all the characters of the novel «Bliss» by one of the most prominent representatives of contemporary Turkish literature Zulfu Livaneli. Z. Livaneli is a writer and a psychologist, in whose works, the inner spiritual world of his characters, manifested through the behavior, actions, through their understanding of themselves in this world, is most clearly described in the images and topics. At the same time basing on the science of psychology, the article is the 1st study in this direction. Especially through the life of three characters Meryem, Cemal and Irfan Kurudal the article discusses the problem of the inner world of a man and his existence in the Turkish society.

The article focuses on the interpretation of the problem of folly in the Italian neo-avant-garde literature, examines cultural and historical context and ideological grounds of the named problem, analyzes the distinctive "language of madness” appearing in the texts of neo-avant-garde authors. Structural features, functions and artistic meanings of the "discourse of madness” are illustrated by the poetry anthology I Novissimi and prosaic works by L. Malerba, G. Manganelli and E. Sanguineti, the main representatives of the neo-avantgarde movement.

The article deals with the theme of the "decline of Europe” in works of Ilya Ehrenburg in the first half of 1920s. The research is based on the material of the novels «The extraordinary adventures of Julio Jurenito» and «Trust D.E. The history of the destruction of Europe». The article shows the evolution of the writer's views on the problem of the crisis of culture and civilization, which was actively discussed in the beginning of the 20th century. Position of Ehrenburg was different from Spengler's one: he regarded «the decline» of the West not as the end-phase of the life cycle, but as a transitional phase associated with the idea of new birth through of death.

The article is devoted to Russian-Czechoslovak cultural and scientific contacts, the phenomena of Russian Prague. In 1920-1930s Prague became the center of European humanities and emigration. It also contains some materials on the history of studying "The Russian Primary Chronicle” ("The Tale of Bygone Years”) in the Czechoslovak Republic in 1920-1930s, 1) the short review of works of Russian emigrants scientists; 2) information about translations of "The Russian Primary Chronicle” made by Czech and Slovak researches.

The article reveals the specificity and function of the "air” titles in the poetry of Vadim Kozovoy. The author relies on the works of G. Bachelard, Georges Bataille and Maurice Blanchot, talks about connection of the Kozovoy's poetry with the tradition of romanticism (Hölderlin, Nerval, Rimbaud, etc.), about the impact of the romantic's philosophy of creativity on Kozovoy's views on art, as well as the romantic imagery on his poetry, describes the most common metaphors and images of Kozovoy, does a comparative analysis of works of the Romantics and Kozovoy with «air» titles, and describes the functional importance of each title separately and all together. On this basis, the author presents a set of «air» titles as a single system with its dynamics.

The article examines the impact of the poetics of folk theater in the play by Daniil Kharms "Shardam Circus” on the level of characters system, artistic device (author draws attention to the conventionality of the performance, active contact with the audience; carnival beginning); speech features (phonetic word play, "abstruse” speech, the use of "raesh” verse, farce disputes and bickering). Odd elements of the farce and folk performances do not create a holistic carnival spirit in "Shardam Circus”, but are used as separate pieces, assembled randomly. Playing with elements of folk theater is meaningless and is only for the sake of the game forms that anticipates the dramatic and absurd poetics of postmodernism.