The article presents results of cognitive-linguistic-cultural and discursive analysis of the words and phrases that represent the concept "drinks” in the Russian language picture of the world. The study showed that topical vocabulary of the group "drinks” forms one of the most important fragments of the worldview of the Russian language, which suggests the importance of the code in the culinary culture of the Russian people. The analysis makes a certain contribution to the reconstruction of the integrated language world picture and also helps to find out some peculiarities of national comprehension.

The article highlights the urgent question of speech study, the communicative roles of participants of verbal communication. The author studies in a practical discourse different subjects, whose communicative impact is essential for communication. The analysis makes it possible to define nine possible communicative roles. However, some roles can be combined, and there are at least two subjects in communication. The study is based on analysis of small written texts used in daily life from pointers to epitaphs. The findings on possible participation of over two communicants in a dialogue is valid for this material.

The article describes the syntactic meaning of temporal generality and timelessness that are present in the structure of generalized personal and infinitive mononuclear verbal sentences. Observations on the implementation of usual-characteristic meaning of present, past and future syntactic time in two-member sentence lead the author to the conclusion that depending on the degree of commonness of the communicated fact the imperfect meaning of a specific syntactic time is reinterpreted, and the semantics of temporal generality and even timelessness are emphasized.

The article is devoted to the usage of communicative level means in the Russian language, specifically their role in forming comic effect. Many linguists, philosophers and specialists in study of literature have long been interested in this topic. We focus specifically on the analysis of the communicative level means and that makes our research different from others. There are several ways of producing comic effect and in this article two of them are being examined: the communicative alogism and the communicative provocation. The selected examples are drawn from the acclaimed films of V. Etush, S. Filippov, A. Papanov, G. Yaron.

The article explains the statement that the particle хорошо brings a new meaning to the sentence. The semantics of the particle хорошо - this is a mandatory part of the assessment complex, which is expressed in a particular utterance. Meaning and function of the particle are difficult consider in isolation, especially in one-word indivisible sentences without grammatical forms and main and minor parts of the sentence. Particle хорошо is often used in a dialogue speech. A token хорошо presents a number of functional homonyms (predicative in the personal and the impersonal form, adverb, modal word, the assessment category). This unit is widely used in speech and writing in the status of different parts of speech.

The article is dedicated to the theatre-narrative experiments as a special method of theatre adaptations of non-dramatic texts. This method consists in pronouncing both narrator's and character's texts, so that one cue could include third-person and first-person narratives. Specialists in drama study usually mention non-adaptation as the main principle of this theatre practice, and we suppose that this is a modification of text structure and subjects of discourse. The research has revealed that a character, in whose cues the narrator's discourse is put in, is obligatory to be the subject of the utterance's dictum or modus.

The article investigates the syntactical connections and relations between a participle and an infinitive. On the basis of the semantic-functional principle of syntax comprehension this work analyzes the specific organization of propositional structures containing these impersonal verb forms and examines the conditions of participle functioning as the second and as a secondary predicate. Revealed peculiarities of juxtaposition of participles and infinitives allow to make a conclusion about hierarchically organized propositional structure of a Russian sentence.

The article analyzes bisubstantive type of sentence as a way of expressing the author's position in the memoir text (based on the memoirs devoted to the events of the first half of 20th century). The basic models of bisubstantive sentences operating in memoir texts, their structure and semantics are defined. The author analyses development of predictive values of nonpredicative case forms in the position of the main component of copula-substantive predicate. She describes the obligatory structural and semantic characteristics of the author's position and assessment in bisubstantive sentence, which can be occupied by a subjective distributor or be implicitly represented.

The article is devoted to word-building peculiarities (the frequency of occasional ways of new word formation) and belonging of newly created words to certain parts of speech. The author used particular "specialized in word creating” Internet sites such as "Gift of word”, "Word meanings”, "Neologism of the year”. The research allows to come to the conclusion that neologism creators prefer words play in word-building (use of occasional word-building ways, in particular contamination and interword overlay) for giving a word some additional expressive stylistic meanings.

The cases of usage and functions of proverbs and sayings in A.S. Pushkin's letters to his wife are considered in the article. These letters are essential part of his epistolary heritage, which is important for studying of folklorism, personality, events and facts of poet's life, his family life, his relations with Natalia Nicolaevna Pushkina. Proverbs and sayings naturally and organically come into the text of the letters, are cited in the connection of his life, i.e. just so, as they exist in people's life. The material presented in the article demonstrates the close connection between A.S. Pushkin's epistolary heritage and his creative work, because many of folklore adages, that can be found in his letters to his wife, are used by him in the creative way in his fiction.

The article reveals the style and the pathos of the death tragedy's artistic reconstruction in the autobiographical Tolstoy's and Shmelev's prose. The death's motive defines the «final event» of the childhood's end of autobiographical protagonists and plays a great role in a plot's arranging. The personal tragedy of autobiographical protagonists is determined by the visual dominant "began to watch”, (L. Tolstoy); "see” (I. Shmelev) which expressively externalizes in techniques of "verbal art”. Semantic convergence of the father and the Fatherland's loss determines the peculiarity of the death's motive of I. Shmelev.

The article presents the analysis of the narrative structure of Narbikova's prose in terms of the author's viewpoint. The established appreciation of Narbikova's works being "decentralized” texts without the author's line, completely focused on the play of words is being controverted. The author studies the main leitmotifs of the trilogy consisting of stories «Okolo ekolo», «Probeg - pro beg », «Velikoe knya...» and proves its consolidating and plot forming role. The leitmotif composition of the plot determines similarity of the trilogy with musical genre of sonata. The leitmotif organization of the narrative is used as an important way to represent the author's idea with the help of he repetition of the main themes and their development in different artistic modalities. The realization of leitmotifs and its interaction help to express the author's irony and her understanding of world's absurdity.

The article deals with the scientific heritage of folklore and literary researcher M. Azadovsky that is associated with the fairy-tale by P. Yershov "The Humpbacked Horse” and the question of the degree of Pushkin's participation in the creation of this work. The paper describes M. Azadovsky's search for arguments against idea of Pushkin's authorship of the beginning of "The Humpbacked Horse”, which found realization in his works of 1930-1950s. Special attention is paid to the editor's practice of M. Azadovsky and the problem of choosing the final text of the fairy-tale. We actualize the meaning of valuable researcher's experience for the modern literary publishers of "The Humpbacked Horse” as they often allow different interpretations of its publication.

This article seeks to examine the documentary fiction of F. Stepun and B. Savinkov of the First World War in the aspect of socio-political mythology. As a result of the research the process of historical events neo-mythologizing of 1914-1918 years has been found out. The analysis convinces that F. Stepun created myths with political purposes and B. Savinkov's neo-mythologizing had a philosophical-aesthetic character. The revealed process is poorly studied and demands further researches.

The article discusses the characteristic variations of a subject of Russia in Igor Severyanin's emigre poetry. The author pays attention to change of poetic style as a whole, and also to emergence of peculiar signs of civil poetry of I. Severyanin who took the isolated and neutral position of "summer resident” who doesn't wish to be ranked in any group. The author examined nostalgic, critical, ironical, utopian motives, and also interpretation of a symbol of "Rose” as an image of the lost Homeland.