پژوهشنامه زبان و ادبیات روسی
سال هفتم شماره 2 (پیاپی 14، 2019)

In the past two decades there were changes in social life of Kazakhstan: entering into the global community, integration of economy, the politician of trilingualism, which promoted change in learning approaches, modernization of all education system. For successful social adaptation and communication of a special category of the repatriate students who have come back to the historical land, various dictionaries and reference books are widely used in teaching them non-native language (Russian). For this category of students in the Kazakhstan’s universities conduct additional classes in all faculties, prepare teaching methodical materials, individual work programs, manuals. Especially for this category of students we have created a special type of dictionary – ideographic, which is intended for active work with vocabulary, expansion and systematization knowledge of the Russian language, and is useful for self-study of the language as an additional guide to the basic course. In the Centers of adaptation and integration of repatriates for carrying out training courses in Russian manuals successfully take root, seminars on the methodology of language teaching are being conducted.

In Russian poetry of the era of enlightened absolutism of the second half of the XVIII century. The royal and noble suburban "paradise" acted as the locus of the "new" nature, transformed by the god-like monarch or nobleman into the earthly "paradise" of eternal spring. But at the boundary of XVIII and XIX centuries its main components were cardinally reinterpreted. Now the Nature, returned in its original and indivisible condition, drives the irreversible history. The poet sees in destroyed suburban palace the point for the rethinking of his existence as the part of the irreversible life’s movement. Meanwhile the godly world, initially embodied in the suburban “paradise”, appears for the poets of the new century at first as the antipode of the frail Nature and then as its spiritually synthesis.

Most of Russian researches in the field of religious communication are devoted to Christianity, other traditional religions rarely become the object of linguists’ attention. The object of this study is the genre of Islamic preaching, functioning in Russian. In Muslim sermon is understood as the solemn moral speech of the Imam-Khatib, dedicated to an Islamic religious or moral-ethical issue. The recipient of the Muslim sermon is the Imam-Khatib, who must have a knowledge of the Islam fundamentals, be well educated, and know the prototext of the Quran well. Besides the Quran, the preacher also addresses contemporary material, includes cautionary life stories in a sermon, and concerns current social problems. The addressee of Muslim sermon has several distinguishing features: pronounced a sermon in the mosque and meant for faithful men, it is a compulsory element of religious life. A woman in Islam occupies a special position, she is not forbidden to visit the mosque, but it is recommended to pray at home. There is a so-called sermon at home in Muslim, which is pronounced as Imam-Khatib for women, as well as religiously educated woman

The article deals with the outlook of the Silver age on the phenomenon of Russian classics in comparison with previous criticism, with its love for people, social pathos and realism as the main value. It is shown that the distinguished features themselves marked out of the Russian classics as the stage of the Russian culture don't separate the representatives of two conflicting camps. The most important general motives are as follows: influence of Russian literature on the European; aspiration of literature to overstep itself – into life, in the moral sermon; literature as the reflection of the national soul; connection with a Christian ideal of the people; dramatic position of the Russian writer; insufficient attention to aesthetics. In the article is analyzed how these theses appear in different contexts of judgment (for example, in the polemic of D.S. Merezhkovsky and M.N. Michailivsky or D.S. Merezhkovsky and A.M. Skabichevsky). Comes to light that the differences depend upon radical opposition of atheistic and religious approach to the literature of the Golden Age.

Relations between Russia and Persia have a long history, but the problem of their mutual understanding and perception still stays under explored. Documentary witnesses on socio-political and cultural contacts between Russia and Persia are of the most interest in this aspect. An important source here is notes, letters and itineraries of Russian travelers who have visited Persia in XVIII-XIX centuries. One of such documents depicting the first-hand impression of meeting with “wonderful” and “fantastic” East is the note by Aleksey Saltykov "Journey to Persia". This book was written during the author’s journey to Persia in 1838-1839. "Journey to Persia" and all notes of such kind are the most valued for the “living details” of the author’s reflection of meetings and travelling observations. These natural details and intimate impressions have provided the basis for the oriental text in Russian literature.

The article deals with emotions (joy, grief, surprise, anger, curiosity, shame, fear, sense of guilt) represented through the images of the characters of A. S. Pushkin’s cycle The Tales of the Late Ivan Petrovich Belkin. Two emotional pictures of the world are created and superimposed on each other in the narration: the author’s (male) picture of the world and the generalized one (pseudo-male). A. S. Pushkin gives the role of the main narrator to provincial landowner Belkin, who retells the stories, which he heard from other persons: titular counselor A.G.N., lieutenant-colonel I.L.P., Steward B. V., maiden K.I.T. However, presence of the true author – Pushkin – is revealed in Belkin’s tales, and this makes the narration “two-voice”. Nominations of emotions are almost absent in the text of Belkin’s Tales, there is a moderate quantity of expressions of emotions and a large quantity of their descriptions. Male emotions are represented as more intensive than female emotions. The prevailing male emotion is anger, the predominant female emotion is fear.

The syntax can be considered as a system of representations of situations. The correlation between syntax and semantics is not always one-to-one correspondence. A particular syntactic representation is determined not only by the real-world parameters of the situation represented and by the speaker’s perception but also by a number of pragmatic factors, namely, the communicative organization of utterance, emphasis, etc. The paper deals with the interaction of semantic and pragmatic factors in choosing a particular syntactic structure (considering some constructions in Russian). For many situations, there is more than one possible syntactic representation, including those with identical lexical components; the analysis of such data reveals the inherent semantics of syntactic structures, contrastive contexts and non-standard usage being particularly informative in this aspect.

The article examines the problematics of representativeness as a characteristic feature of Gogol's creativity. It is noted that the picturesque style of Gogol's style is associated with various manifestations of the sublime category such as pathos, the desire to portray some colossal and stunning objects. At the same time, Gogol's verbal painting cannot be regarded as an ecphrasis. Categories of pictorial and poetic in the aesthetics of Gogol expand their own meanings, absorbing and simultaneously overcoming both hypotyposis and coloristics as characteristics of style. The picturesque of Gogol does not compete with the poetic, but radically changes its direction, appealing not to external but to inner feelings. Gogol's description of the picture of Bryullov and the interpretation of Ivanov's painting are related, because the depicted historical events acquire a universal sacred meaning in Gogol's description. The sublime modus of Gogol's creativity sets the direction for the embodiment in the word the ideas, with are unseen and invisible. In this way, both poetical and pictorial show insufficiency of their aesthetic means.

In 1762 the Bulgarian monk Paisiy Hilendarski (Paisius of Hilendar) completed his manuscript book Slavic-Bulgarian History. The book, which he began to write in Zograph Monastery, was completed him in the Hilendar Monastery on the holy Mount of Athos. During the Bulgarian Revival Period, between 1765 and 1882, the Slavonic-Bulgarian History was hand-copied over 70 times. From the 1940s onwards Russian scholars became interested in the manuscript copies of Paisiy's book. The interest of foreign scholars persisted until the restoration of the Bulgarian state in 1878. The article reconstructs the so-called Russian Trace in the Bulgarian Historiography of the 18th and 19th centuries. We follow the relations between Vasil Aprilov (Bulgarian emigrant in Odessa) and some Russian professors (Yuri Venelin, Victor Grigorovich, Nikolay Murszakevich, Ossip Berdjanski etc.) who studied the handwritten transcripts of Slavic-Bulgarian History, because they had the ambition to publish them in Russia in the 1940s and 1950s.

At first glance, the topos in the novel is painted in idyllic tones and represents a picture of the manor paradise. The poetics of the estate text presupposed a family idyll in the bosom of nature, the sentimentality of relations, sublime feelings, the cult of enlightenment, the worship of the elegant, aesthetic enlightenment of being. The main character, Colonel Rostanev, is "pure as a child, presuming all people to be angels", "beautiful by nature", "intelligent in heart"; his beloved Nastenka is "an angel, not a man". However, the arcade idyll, the gracious healing "paradisiacal" locus of a noble estate, first turns into a "Noah's ark", a "madhouse", a "bedlam," and then a hell by virtue of the despotism of the adoptive father, Foma Opiskin. This "pljugovenky <...> little man," a failed writer, stung by the "snake of literary vanity," "the accursed Foma" becomes the source of all evil. The topography of the paradise in the novel is constantly satirically turned over, the motives of temptation, fall, redemption, narratives of preaching and humility are ironically reduced. Even the universal happiness of the "returned paradise", when Foma Fomich allows the colonel to marry Nastenka, is created under the influence of alcoholic intoxication, the survivor in a benevolent mood turns into a "genius of goodness".

In this article, using of the example of lexical material of the well-known literary monument "Zakhire Kharazmshahi" Seyyed Ismail Jorjani is tasked to conduct a comparative analysis of word-form consoles in Dari Persian language and their Russian equivalents. Authors of the article consider various approaches to study the prefix word formation method in the two languages under consideration. The subject especially was studied from the point of view of semantic-syntactic specifics in two languages about prefixes, which were subjected to partial consideration. When selecting the values of authors, problem of lexica-semantic features of the prefix verbs is touched upon. In the process of studying, the most common prefixes and their Russian equivalents were identified and analyzed, their semantic similarities were revealed. It is noted that some prefixes during historical development of Persian language underwent phonetic changes. Some prefixes, which previously acted as independent words, eventually turned into a derivational morpheme.

The article examines problems of translating of Persian-Tajik philosophical lyricism into Russian language as far as linguocultural aspect is concerned. The reason why this process can be complicated is explained by the necessity to express properly the cultural information which personal names, toponyms, ethnographic and social realities as well as metaphors and symbols. It is the interpretation of this information that is of primary importance for the proper understanding of the whole poem. The examples given show that there are different ways of translation such words into Russian language. Transcription, usage of the Russian synonym or equivalent, the method of the description are the most important of them. The comparison of different ways of translation let’s make a conclusion about the most suitable ones. Thus, while translating Persian-Tajik poetry into Russian one should make not only lexical, grammatical or syntactical transformations but also the translation of cultural, historical and ethical information must be taken into consideration.