The novel under study is V. Nabokov’s “Invitation to a Beheading”, its inner structure specifically. In the allegorical form the author recreates the paradigm of the existence of an individual awareness at the centre of a three-fold picture of the world, in the focus where the empirical-transcendental-metaliterary realities interlace. At the heart of this tripartite model there exists the individual consciousness of Nabokov’s protagonist C. Cintinnat. He is not a victim, not a powerless toy in the hands of three forces of Universe. Rather he himself breaks up with the world of material illusion to transit to the level of metaliterary other-world existence.

The article deals with the role of Marr’s linguistic theory in the context of the development of Russian linguistics in the 20th century. The author analyzes the principles of the “new doctrine about language” by Marr, his method of etymological and semantic analysis, new concept of classification of languages. The author considers the negative influence of Marr’s theory on the development of Russian linguistics in the first half of the 20th century.

The research, made with the help of the semantics communicative analysis method, raises the question of recognition of interlocutor’s adequacy or inadequacy communicative signs. The author uses the material from “The Guy from Our Cemetery” (2015) movie and examines in detail the functional peculiarities of Russian communicative units (both verbal and kinesic) of the characters distinguished by an adequate or inadequate communicative behavior. The problem of aesthetic charge of the movie’s arsenal of communication tools and the communicative composition, formed by them, is also mentioned.

The article discusses the words ‘secret’, ‘mystery’ and ‘riddle’ functioning in Fyodor Dostoevsky’s creative works of different genres and periods of creativity, makes the assumption that these words have the status of idioglosses, i. e. they characterize specific features of the author’s idiostyle and worldview. Contains the reasoning about the genre features of Dostoevsky’s creative works and the results of linguistic and literary research related to the study of the words ‘secret’ and ‘mystery’ semantics. Analyzes the definition of the word ‘secret’ in various dictionaries including a fragment of the dictionary entry from the Dostoevsky’s Language Dictionary, gives a similar lexicographic description of the word ‘mystery’: subordinate, coordinative and associative links of the word are systematized, junctions of several textual associative fields are found out. The article contains comparative lexicographic analysis of the contexts of the words ‘secret’ and ‘mystery’ using in order to explicate the components of their meaning in Dostoevsky’s texts. As a result in the context of Dostoevsky’s idiostyle description the definition of the word ‘mystery’ is formulated and additional shades of the word ‘secret’ meaning are revealed. Thus, a significant fragment of the author’s thesaurus is reconstructed in the article.

The article deals with the methological aspect of applying of web quest technology in teaching Russian to foreign students. The authors think that the usage of web quest technology depends directly on the level of the learning skills: either it determines the impossibility of work with this technology and the maximum adjustment of the work under the teacher’s supervision or on the contrary the maximum efficiency of the unsupervised work of the students with the technology. The purpose of the article is the analysis of the peculiarities of the work with the mentioned technology at the basic levels of teaching Russian to foreign students from A1 to C1. The application of this technology is impossible at level A1 owing to the limited lexical and informative (the topics for communication) minimum of the students. At level A2 the web guest technology can be used under the leading governance of the teacher. It’s advantageous to use web quest technology for the students to select independently the visual material in internet (pictures, photos, goods, clothes, famous places, people, price lists, maps, metro maps, traffic schedules) in accordance with the given task. In the authors’ opinion it is especially effective to utilize web quest technology in the teaching process with the students of Level В1. The goal of this level is to teach the perception of producing the unadapted Russian discourse in the frequently used situations of the communication in social, routine and social-cultural spheres. It is in these spheres of the communication that native speakers of their own language can fully use the information of media texts, materials of different internet resources the genre specificity of which (informative notes, news, information of the events, interview, texts of historical and culturological character) and lexical and grammar material coincides with their skills of learning Russian. This can make the work with the given contigent of students using the method of educational web quest maximally organic.

This text elaborates an articulation of the relationship between the tradition and the individual talent, focussing on the palimpsestic link between folklore tradition and the authored text in Macedonian literature, specifically in the poetry of Blazhe Koneski. In Macedonian literature, there has been a continually maintained relationship with folklore tradition, even though it varies, depending on its functions within the broader poetic and cultural context. This palimpsestic relationship has broader implications in Macedonian literature, as well as in literature in general, indicating: the conversion of the author into reader (the author as a reader of tradition); the pragmatic aspects (the role of the wider audience in actualising the intertextual / palimpsestic presence of tradition in the authored text); the mnemonic aspects of the palimpsestic transversal (securing the continuity in Macedonian artistic literature); the metatextual / self-referential implications for literature, generally.

The genesis of ballet art in Macedonia is assiciated with the initial forms of stage performances such as Dionysias festivals and the first theater plays, what is confirmed by the discovered archaeological localities and artefacts. But the actual projected development of the ballet in Macedonia started only in the middle of the 20th century, more precisely after 1949 and continues to the present. The foundation of this art was laid due to the formation of a ballet ensemble, educational institutions and the new repertoire. The Russian artists, who worked in Macedonia at different times, were the major contributors to the professional growth of the troupe. Three choreographers must be especially emphasize: Nina Kirsanova, Yuri Mjachin and Mikhail Krapivin, and their work in Macedonia is analized. It is connected with several segments – choreography, ballet repetition, education. This text deals with the analysis of a specific group that belongs to the classical ballet legacy. These are masterpieces that have kept their choreography almost unchanged form since the 19th century, but at the same time they represent a synonym of the ballet art – “Swan Lake”, “Sleeping Beauty”, “Raymonda”, “Giselle” and others. They are a measure of the maturity and quality of a ballet troupe. The Macedonian ballet pays special attention and embeds it in its repertoire from the very beginning. The three mentioned choreographers are the most important in the staging and adequate preparation of the ballets of the group. They staged the “Sleeping Beauty”, “Don Quixote”, “Raymonda”, “Nutcracker”, “Copellia”, “Esmeralda” on the Macedonian scene. Their work was characterized by a high professionalism and a devotion to their work. The result are the performances that have marked the Macedonian ballet and remained for dozens of years on the repertoire.

The article discusses the methodological differences in definitions of the term adynaton in the classical theory of literature and special folkloristic studies.

In the article attention is drawn to the fact that Mikhail Lomonosov in the penultimate strophe of his well-known “Oda na den’ vosshestviya na Vserossiyskiy prestol Yeye Velichestva Gosudaryni Imperatritsy Yelisavety Petrovny 1747 goda”, while following Cicero’s “Pro Archia poeta” quite closely, uses a conjecture ‘alunt’, not the ‘agunt’ of MSS.; reasons for such a choice are examined; arguments in favour of manuscript reading are offered.

The author proposes a scheme for the analysis of a modern textbooks on RCTs for choose the correct book for a particular contingent of foreign students, with the analysis of the specifics of the each textbooks.

The article discusses the features of modern punctuation in public discourse, the aggressive expansion of the dash and the replacement of the colon with it. The opposition “correct / incorrect” punctuation which determined the language situation in the second half of the the 20th century gave way to the opposition “school / real” at the beginning of the 21st century. The author notes that the substitution of a colon for a dash in most conjunctionless sentences may be caused by the weakening of causal relationships in the minds of speakers. It is suggested that the pattern of strategy of persuasion and influence on the addressee has changed: from the logic of the argument to transmitted emotion.

The article deals with the anthropological and moral views of Leo Tolstoy, his idea of the family as the highest form of gender culture and the fundamental basis of happiness. Particular attention is paid to characters, that are gender-marked.

The article presents a game scenario for interpretation training. The game was created on the principle of a children’s game “The Deaf Phone” and was titled “The Deaf Interpreter”. The game described was developed by the author of this article, it is original and has no analogues. The article demonstrates the main stages of the training: planning (preparatory stage), implementation (progress of the game), and control (analysis of results). The main advantages of the game: are the opportunity to involve all students in the active learning process, the adaptability of the game to the conditions of employment (language pair, language competence, time, subject of interpretation, etc.), no need for auxiliary tools to organize the game, the opportunity for the teacher and students to analyze the interpretation result and work on the mistakes.

The article deals with words ‘letter’ and ‘flower’ that implement the motif of memory in N.A. Nekrasov’s and A.A. Akhmatova’s poetry. Images of letter and ‘flower’ have a long tradition in Russian poetry. General aesthetic principle of memory is implemented in poetic language. It is associated with the preservation of world culture experience. There is a convergence of images of ‘thrown letter’ and ‘destroyed flower’ as symbols of oblivion in the individually-shaped system of both authors. The word flower in Akhmatova’s poetry acquires contradictory meaning and appears within the same semantic field of death and other life milestones as in Nekrasov’s poetry. Typical memory signs, such as flower and letter, reveal the inner connection of Nekrasov’s and Akhmatova’s poetry and allow the reader to understand the deeper meaning of their poetic language.

The article deals with the role of the body in L. Andreev’s “Red Laughter.” The work is considered a text of testimony about traumatic experience, in which the madness of war and the crisis of humanism are reflected. In the story, the human body serves, above all, as the most critical reference point for the perception of the phantasmagorical reality of war; therefore, it is directly associated with the comprehension of the essence of the apocalyptic event in general. Moreover, the body could be taken as certain form of testimony, in which the violence of history is imprinted. In this regard, the depiction of grotesque body images and the representation of the memory of the human body are extremely important. In the article, the “bodily” reproduced figure of the Red Laughter and the significance of the phenomenon of the excess of corporeality, with which the literary testimony is revealed, are examined as well.

This article explores the inner and artistic meaning of a matter detail in the Mayakovsky’s Poem «Flute of the Spine». The world of matter not only represents the empirical aspect of existence but also informs about the poetic motif of the speaker. The object conveys the meaning of the existentialist gist in the Poem and matches the existential level in the perception of futurists. The aesthetics of futurists is expressed by words expressing things. The details of the material in Mayakovsky poetry is the best means to represent the state of being in the artistic experience rather than the direct description of the impatience shown in classical poetry. Through the object, we reveal the relationship between the creator and the creature. Attention is attracted to the lyrical reflexion of things in the context of M. Heidegger’s ideas.

This paper explores the poetics of Wallace Stevens’ later poetry as illustrated by the poem «The Plain Sense of Things» (1952). The author focuses on an alternative mode of thinking opened up by the poem, in which the poetic utterance transforms and is transformed by the process of meditation. This meditation, as the paper suggests, is enabled by the tension between speech genre patterns and semantic lacunae, sources of communicative indeterminacy that require an imaginative response on the part of the reader. This thesis is backed up by the examples both from the original text and the translations. In conclusion, the author argues that in Stevens’ poetry «thought is made flesh», i.e. thought is transferred to the dimension of lived experience.

The article deals with some problems of studying the Russian language in the newly established branch of Moscow State University and PPI in Shenzhen; the description of the model of the linguistic profile of the Russian language adopted at this university is given; the concept of professionally oriented manuals on the Russian language is stated.

The article deals with the the Finnish period of life of scientists Vladimir and Tatyana Chernavin. The crossing of the border, the first meetings with Finland, described by Tatyana Chernavin in the book “Escape from Soviet Russia”, published in Helsinki in 1934, following the narrative of the Solovki camp “Notes of the Wrecker” (1934) written by Vladimir Chernavin. The authors has the same worldview. They were not «knights of the white idea» and working for the benefit of the young Soviet state, but were repressed. Having appeared in emigrant environment of Finland, the fugitives were disappointed But herself Tatyana Chernavin had inscribe the bright page in the history of Russian emigration publicism, cooperating with the “Sovremennye Zapiski” and “Poslednie Novosti”. The article discusses of Tatyana Chernavina book and articles in the context of the polemic with I.L. Solonevich and P.N. Milyukov.