The article is dedicated to investigation of the common name Lermontov that was enforced by a task to comprehend on the 200th anniversary of the poet his impact on Russian writers of the 2nd half of the 19th century, in particular on N. Leskov, in the ideological and aesthetic terms to characterize features of the use of this anthroponym in texts. The author identified through contextual partners the components, actualized in the semantic content of the common name Lermontov, that indicate proximity of the intentions of the writers. It is shown that the introduction of Lermontov’s name and quoting lines of his works allow N. Leskov to define his own position, usually implicit, which is a noticeable idiostyle feature, by acquiring inner support in the «dialogues» with the poet.

The article on the material of the M. Lermontov’s story «Taman» described the future syntactic tense’s meaning expressed by synthetic verbal forms. We explained the role of different parts of the sentence in the presentation of its temporal meanings. A detailed investigation of single-aspect semantics of verbs of perfect aspect and verbs that can form aspect’s pair, realizing their grammatical meaning in the structure of a two-part, definite-personal and impersonal sentences in which there is a modal-persuasive tone of confidence that the event would certainly come true. We proved that the text of the story presented perfective, aoristive, imperfect meaning of future syntactic tense.

The article deals with M. Lermontov’s last romantic drama «Two brothers» (1836), which is devoted to an episode of relationship of the poet with V. Lopukhina. The play is autobiographical. Lermontov could have met Lopukhina and her husband (no direct evidence is available) in Moscow in the end of December, 1835. Probably, it was an «incident» to which Lermontov refers in the letter to Rayevsky and which was transformed in the drama later. At the heart of the story line is the meeting of the protagonist with the woman he loved after her marriage. Further events of the play found reflection in the incomplete novel «Princess Ligovskaya» (1836) (the story line of the princess Vera Ligovskaya and her husband prince Ligovskoy) and in the novel «Hero of Our Time» (the story line of Vera and her husband).

The article deals with impersonal sentences with modal meanings of desirability-undesirability and possibility-impossibility of action with verbal forms as a part of the principal member. It is shown that in such sentences there is a direct or indirect reference to person performing or experiencing action, forms of a dative case of a noun and a pronoun are used. Often the subject of action can be reproduced by a context. The important role in studied sentences is played by intensifiers.

The article considers the peculiarities of the use of individual author’s hyphenated appositive combinations in the context of works of original Northern poetess Olga Fokina. These structures are numerous and various, they bring the poetry by O. Fokina to the element of colloquial speech and open unlimited possibilities of expression. There are prominent word combinations containing a direct characteristic of an object, and combinations based on metaphorical and metonymic transfers. Appositives are included in the system of grammatical means of expressing supercategory of an emotional.

Article is devoted to the analysis of meaning of the 3rd person in grammatical and semantic aspects. The phenomenon of the 3rd person is the ability to be not only a joint, but also a separate representation of lexical and grammatical meanings of a person (in other persons these meanings are expressed only jointly). The personal grammatical meaning is present in the 3rd person constantly; lexical semantics of the person is always evident, but only under certain syntactic conditions: at the use of a personal noun as a subject and at independent usage of the verbal form in plural as the main member of the indefinite-personal sentence.

The article deals with Russian folk charms in pragmatic terms. The author analyzes the composition of folklore genre, as well as the pragmatic component of each structural component is defined. The author attempts to describe the selected components in terms of their linguistic expression. Particular attention is paid to the recipient of the message. The distinctive characteristics of pragmatic national conspiracy are analyzed. The study argues that the charms have specific features to achieve a positive result of communication.

Relations of partial specification are opposed to relations of complete specification. Partial specification realizes the exposure of only a part of what could be reproduced by the homogeneous components of a construction. It is accomplished by means of singling out the main and the majority, the special, the particular, the inclusion, the exclusion, etc. These meanings are also expressed in the case of complicating parts of the sentence, among them one of homogeneous parts, which shows their inner connection. In the syntactic system, it makes sense to consider them within the limits of the categories of specification, homogeneous parts of the sentence and parts of the sentence.

The paper considers the specific features of the functioning of the thematic group «household items» in the Bryansk dialects, that border with Belarus and Ukraine. It is established that a significant part of the lexical composition of this group is isomorphic to the Belarusian and Ukrainian languages, which confirms linguistic and cultural generality of the East Slavic languages and their dialects. Differential characteristics of the equivalent language units are phonetic are morphological differences. Such specificity is also caused historically.

This article complements the existing information on the classification of toponyms with the new data. Conducting a comparative analysis of toponymic classifications presented by the leading Russian and Belarusian specialists in onomasiology, the author made an attempt to make their lexical-semantic and structural classification of toponyms of a specific territory -the Russian-Belarusian border, Smolensk-Vitebsk border in particular. The classification allows a detailed comparative analysis of the collected toponymic actual material for the first time introduced into scientific circulation.

The article deals with the verb «to see» of a visual perception with relation to its shades of meaning in Tyutchev’s poetic texts. The paper studies in detail diverse semantic variants of the verb considering contextual meanings. The analysis is based on the differentiation of perceptive and mental meanings of this verb. The article’s author makes a conclusion that the verb «to see» in Tyutchev’s works specifies not so much the perception of visible world as its understanding by the percipient.

In the present article, on the basis of the predicate vocabulary units’ analysis used by K. Simonov, the peculiarities of captivity’s theme representation in the novels, stories and diary notes of the writer are revealed. Lexical unit are analyzed with regard to their syntagmatics, describing the relation of two opposing armies to the enemy. We identified ways and means to display the humane treatment to the prisoners in Soviet captivity and inhuman, cruel treatment of the Nazis to prisoners of red army soldiers and civilians. The article gives a detailed lexical and stylistic comment revealing the writer’s views on issues of war, the tragedy of captivity.

The article describes reasoning features for self-nomination of a language personality in the virtual discourse, as well as self-identification and self-presentation autonomination components. The paper gives a review of existing opinions on the interpretation of the term «nickname» and reveals the peculiarities of its use in modern linguistics. It identifies several basic characteristics of nicknames being markers of demonstration and implementation of linguistic creative potential of a modern language personality. The results of the linguistic survey make it possible to reveal the principles of autonomination of a virtual language personality.

The paper examines the lexical units that nominate the person (common nouns, proper nouns) as they are an important material to represent the person as a component of the world picture. This work sheds new light on ways to nominate the person in the art text (in Christmas stories by N. Leskov). It is shown that ways to nominate the person help the reader to disclose the author’s idea. They are a tool to create an artistic image in the stories and, therefore, they are a basis to realize an art picture of the world.

This article is devoted to research of an important problem in life and literature - the sanctity problem. The Russian literature as a spiritual phenomenon is impossible without statement of this problem. The best writers made the spiritual choice, followed the way of Christian development. It is especially characteristic for the Pushkin time - «Golden Age» of the Russian lyrics. The article considers the influence on the Pushkin’s personality and his works of his great contemporary, the metropolitan of Moscow Philaret. The metropolitan in his sermons, that were devoted to the memory of Saint Sergey of Radonezh whom he always deeply respected, steadily called each person for sanctity, considered sanctity as a duty of the orthodox Christian. The main ideas of the spiritual person found reflection in the poetic dialogue of the metropolitan Philaret and Pushkin about sanctity. Pushkin responded to these thoughts, the appeal to sanctity didn’t pass for him in vain and received reflection in poems and prose of the 1830s years.

The article deals with the study of domestic animal art in 18-20th centuries in the works of researchers. The urgency of this problem is due to the wide public interest in the topic of nature. An important aspect raised by art historians and critics who wrote about animals, -the depiction of the characteristics of this genre in the context of the era, the definition of its boundaries. Focus is on the formation and development of the animal genre as an equal among other genres of fine art, features interpretations of the image of an animal, an understanding of objective and subjective factors in its interpretation, the importance of animal art in general.

The article examines the dominant metaphor of the Y. Buida’s story «Kazan Railway Station», that embodies time of crisis in Russia of the 1990s years. A semantic structure of the metaphor has been denoted and its ontological paradigm has been defined. The author views Kazan Railway Station as a unique historical «center», which absorbed the revolutionary events, that radically changed the fate of Russia. The human being deformation has been interpreted through correlation of the modern history with the figure of Christ, the Savoir of the human race. The functions of the metaphor «Kazan Railway Station» expose the eternal fundamental contradiction of the mankind «body, flesh - soul, spirit».

The article considers the problem of the genre of the novel «Lily in the Valley», that combines the features of the confessional and the epistolary novel. Balzac’s novel is explored as a personal novel, the study reveals the similarity and difference form works of Senancour, Constant, Chateaubriand. The paper shows how Balzac uses widespread in romantic literature plot-compositional scheme and transforming it comes to a new type of narrative. The paper explored the relationship between the author and the protagonist, attention was also paid to the system of the characters and the issue of the relevance of a «Lily in the valley» to the cycle «the Human Comedy».

Andrey Bely is an outstanding representative of the expressionism in the Russian literature. In «Moscow», we note the increased attention of the writer to a verbal painting similar to works of artists-expressionists. Expressionism of A. Bely is an original phenomenon, which was manifested in coloristics novel «Moscow». Its origins are the peculiarities of writer’s attitude, N. Gogol’s prose, the bright colors of nature, fine art works of the Middle Ages, the Renaissance, 17th century (Europe) and 20th century (Russia), the Gospel. The variety of sources resulted in wealth of coloristics «Moscow». Color often has a symbolic semantics. A. Bely’s coloristic experiments were fruitful for the development of ornamental prose - a special direction in the Russian literature of the twentieth century.

The article is dedicated to the theme of war in works of I. Ehrenburg of the second half of the 1910s - the beginning of the 1920s. The research is based on the material of military correspondence, poetry and prose works of the writer. The article deals with the artistic views of Ehrenburg on the theme of war in their formation and creative growth. It is the author’s opinion that the First World War was one of the reasons for the crisis of civilization and the crisis of a human being. According to this author, war is a grave sin, which has exposed the fragility of life and human misery.

The article reveals the influence of Russian Futurism on creativity of Vadim Kozovoy. The author relies on the works of R. Duganov, N. Khardzhiev, as well as on the works of V. Khlebnikov, A. Kruchyonykh and Kozovoy’s too, speaks about the interaction of the traditions of Russian Futurism, literature of the absurd and philosophy of the romanticism in Kozovoy’s poetry, analyzes his poems and describes the interaction of different traditions. On this basis, the author writes about the importance of studying the works of Russian Futurists for a complete understanding of Kozovoy’s creativity.

The article deals with the structure and functions of the parody images of Poles in the Russian historical novel in the late 1820s - early 1840s. The analysis dwells on the historical novels such as N. Gogol’s «Taras Bulba», M. Zagoskin’s «Yury Miloslavsky, or Russians in 1612» and O. Shishkina’s «Prince Skopin-Shuysky, or Russia in the early 17th century». The typical features of the type «Polish pan» and their transformations in the structure of the parody characters are revealed. We reached the conclusion that the main functions of parody characters coincides with those of style and genre parodies.

«The Path» was the most popular magazine among other children books in the 20th century in Russia. It was published in St. Petersburg by popular Silver Age poetess Polixena Solovyeva and a writer Natalia Manassein. Solovyeva was the author of many fairy tales, plays, poems, published in «The Path». Famous authors of that time: Claimant, F. Sologub, A. Blok, Aramiso and others worked with the magazine that focused on the child’s readership. The article deals with Solovyeva’s works, published in the magazine «The Path» and in its book series. The author analyzes the art style methods by which P. Solovyeva created a diverse and attractive for a child fairy-tale world, based on the concepts of good and justice.

The article analyzes the sonnet “Boris Godunov” of a poet belonging to the first wave of Russian Emigration in Italy, V. Sumbatov, in correlation with the similarly named tragedy of Pushkin. The materials of historians’ discussions about the Time of Troubles are used. The author of the sonnet is shown as a unique poet, wise philosopher, extraordinary personality able to look for the answers of the most acute problems of his time in the work of the genuine predecessor. The archival documents and the publications of small periodicals of the Russian Emigration are cited.