پژوهشنامه زبان و ادبیات روسی
سال دهم شماره 1 (پیاپی 19، 2022)

This article considers the functional potential of Russian deverbatives in sentences with prepositional constructions. The functional potential of deverbatives of the Russian language should be understood as their taxis functions-potencies, allowing them to actualize taxis meanings of simultaneity and a synchronicity in statements with taxis-forming prepositions of various semantics. The article describes various variants of primary-taxis and secondary-taxis in categorical situations of simultaneity, precedence and following in statements with prepositional deverbatives in Russian. Deverbatives with temporal-taxis prepositions actualize primary-taxis categorical situations of simultaneity, precedence, and following. Deverbatives with heterogeneous taxis prepositions of adverbial semantics actualize various secondary-taxis categorical situations of simultaneity.

The article examines a number of ideological, social, ethical, aesthetic foundations on which the phenomena of Russian classical literature arose. Such foundations determined the content and form of literary phenomena. The work of Karamzin, Pushkin, and writers close to them developed on the basis of assimilation of European and Russian material, which took the form of cultural personalism. Subsequently, there was a change of fundamentals. The tendencies of criticism, social problemativeness, negativism have become predominant. Lermontov abolished Pushkin's measure of man and moved on to the hyperpolarization of personality in the poet's self-consciousness and in the lyrical "I". Gogol's work was governed by socio-anthropological criticism. In the era of crises, ideological struggle, Leskov did not find solid foundations for his worldview and creativity. The trends of the 1860s - 1870s led Dostoevsky to a deeply ethical and philosophical problematization of man. Chekhov's work reflects the tendencies of negativism of the late nineteenth century

The article deals with issues related to the structural and semantic organization of paremic transformants of the coronavirus era. Paremias have a relative independence of meanings from the context of use and are able to maintain the "transparency" of the internal form of utterance in conditions of different event backgrounds; in paremias there is no specific person, the action being performed, and an indication of the time of this action; paremias act as a means in the language game. The paremic transformants of the coronavirus era are contextually conditioned, since the modification is actualized in a certain context, at a certain time, they act as one of the means in the language game. Transformations of paremias are caused by their active use by native speakers. In the coronavirus discourse, the choice of paremia is conditioned by a pragmalinguistic task: 1) modeling of a unique situation, on the one hand, and a typical one (since it extends to everything and everyone), on the other; 2) selection of appropriate language units, modifications of which will most adequately reflect discursive practice; 3) solving the set communicative task in order to adapt to the conditions of the pandemic; 4) nomination of participants, events, phenomena, processes of the coronavirus era; 5) expression of assessment to the factors of coronavirus discourse; 6) identification and description of acute discursive topics. Modification of paremias determines the formation of new relevant meanings characterized by imaginative, vivid, emotional and expressive character.

This article examines the role of Lomonosov rhetoric in the history of language, in particular, in the normalization of the Russian literary language of the first half of the XVIII century. This question is examined in the light of M.V. Lomonosov's rhetorical teaching on the order of words, set forth in both his textbooks of rhetoric: "A Brief Guide to Rhetoric" (1744) and "A Brief Guide to Eloquence" (1748). Lomonosov's theory of word order is considered in comparison with the concepts of word order in Russian grammatical works of the late XVIII - early XIX century. On this basis, the factors characteristic of each epoch for assessing the order of words in the linguistic structure of the Russian language and in its use are identified. It is concluded that M.V. Lomonosov's concept of word order is not grammatical, but rhetorical and stylistic, due primarily to the tasks of rethinking the linguistic structure of artistic speech when it is used for rhetorical purposes.

The mysterious East with its representations of Qur'anic and Sufi imagery and allegories was an important conceptual dominant in The Silver Age of Russian poetry. In the present article we analysed the poetic image of Dervish appearing in literary works of Ivan Bunin (traveller's essay “The Bird’s Shadow”, poems “Temjid”, “The Pilgrim”, “The Beggar”) and in Andrei Bely’s travel literature (essay “Dervish”, travel notes “African Diary”). Both authors, being influenced by their travels throughout countries of Eastern Muslim at the beginning of the 20th century, succeeded to capture and include in their poetical system not only the geo-ethnographic and cultural component of this region, but also the Sufi-mystical images and allegories. Being both an exotic and ethnographic image, the Dervish represents a symbolic manifestation of high spirituality, one’s inner faith in truth, soul-searching and renunciation of the material world in an attempt to merge with the Absolute.

The focus of the article is on the peculiarities of Russian everyday dialogic speech. The aim of the article is to describe the specific features of dialogic speech. The object of the analysis is the dialogic unit. Everyday dialogic speech is characterized by the interaction of mutually directed intentions of communicants. In this case, the dialogue is a sequence of speech moves, which consist of specific speech techniques. Speech techniques are defined as lines, consisting of different statements, used in order to have a certain impact on the partner in communication. Dialogic units are chosen as material of the research as they are typical for everyday dialogic speech in the Russian language. The article concludes that the dialogue can be considered as two ambivalent clusters - conflict or cooperation. The main specificity of dialogic speech lies in its motivation, mutual directionality, emotional coloring and situational conditionality. The article analyzes and describes the speech techniques and moves of dialogic speech using examples from corpora.

The author explores the function of humor in the prose of Dostoevsky. Заменить Humor is capable of combining grand and minor. A joke may reveal to the reader whole shafts of content. This function is carried out by a multitude of verbal alogisms of general Ivolgin, captain Lebyadkin and Madame Khokhlakov. Humor in Dostoevsky may serve to uncover a valuable content behind the funny and the negligible. The funny helps to reach a visualization of the characters created by the writer. The funny, which unexpectedly flashes in Versilov and Stavrogin, gives them sudden visibility. The characters of the novel The Idiot, who find Prince Myshkin funny, ascribe to the reader’s view a special keenness, not at all comical, but tragic. Laughter in the gamut of Dostoevsky transpires as an essential color – one aiding him in his creation of the vibrant and multicolored picture of the world.

The article introduces the biography and work of the forgotten writer Kokhanovskaya (N.S. Sokhanskaya; 1823–1884), who belonged to the generation of Dostoevsky and Iv. Aksakov, but came into contact – through her apprenticeship with P. A. Pletnev – with Pushkin’s circle. Having spent her entire life in a real seclusion on a distant farm in the steppe, Sokhanskaya not only achieved all-Russian fame and reader’s love, but also acquired much companionship with her among Petersburg and Moscow writers and public figures. A significant period of her work falls on the time of collaboration in Slavophil publications, which predetermined the turn in the “reputation” of the writer in an increasingly liberalizing society: she was waiting for ridicule, oblivion and falling into the category of “literary exiles”. At present, interest in this forgotten writer is reviving in Russia, and the publication of her collected works is being prepared. The literary fate of Kokhanovskaya is a long path of self-education, desperation with fame and return to her solitary work.

Over the past few years, in the course of research work, the Museum of the Imperial Nicholas Gymnasium has managed to identify several interesting documents in the St. Petersburg archives that clarify and shed light on new circumstances of the biographies of the Gumilev and Sverchkov family members. Some of them are quite sensational in nature, since they significantly correct previously published information about the family. Foremost, they concern the nephew and companion of Nikolai Gumilyov - Nikolai Leonidovich Sverchkov, Kolya Little, as he was called in the family. But among the documents and circumstances, there are those that make us take a fresh look at how they both ended up participating in the First World War. The author plans to present the documents collected in the course of the study in full in a book, which he hopes to publish next year, in the article he will tell about the most interesting of them.

This article is devoted to the life and creative work of Pavel Nikolaevich Louknitsky, the first biographer of the poets Nikolai Gumilev and Anna Akhmatova. The article tells the readers how Pavel Nikolaevich, his wife Vera Konstantinovna and their son Sergei have contributed to the cause of preserving the memory of the poet Nikolai Gumilev, his archive and literary heritage. They were the founders of the contemporary Gumilev studies. Pavel Louknitsky and his family have been keeping the poet’s archive for many decades, often risking their own lives in doing so. They also did their best to promote the works of innocently murdered poet. Sergei Louknitsky devoted 20 years of his life to rehabilitation of Nikolai Gumilev which took place only in 1991. After that, the books by Gumilev were published in millions of copies. The family transferred the archive to the Pushkin House Museum in Saint Petersburg in 1997. Only due to this in 1998-2006 the complete collection of works by Gumilev with commentaries in 8 volumes was published.

The ability of a word to have several meanings is called polysemy. So polysemy is the ability of one word to serve to designate different objects and phenomena of reality. There are words, phrases and expressions that can drive even native speakers, not to mention foreigners, into confusion, due to the fact that some words can change their meaning depending on the context. This question is of particular importance when translating the Qur'an, because the translator chooses one equivalent that fits that word in the context of the Qur'an, which actualizes the Qur'anic meaning. This article explores the issue of polysemy. Three words "Altamma", "Sahere" and "Daha" from the Surah "An-Naziat" were selected as the subject, the analysis of which is carried out in the context of functioning in the Koran. The result of the analysis shows that if we simultaneously use the lexical meaning of the word and take into account the context of the Quran, then we can identify a reasoned equivalent in the translation of the Quran. This aspect of the study is based on two Russian translations of the Koran by Krachkovsky and Zeynalov.