he article discusses the processes of assimilation of plural noun forms borrowed from Latin and ending in -a in Swedish. An analysis based on the material from the Corpus of Swedish demonstrates that these processes have been caused by lexicalization and are accompanied by the appearance of variation in inflectional forms not only in the plural, but also in the singular. The borrowed Latin plural noun forms with collective meaning form two groups of lexemes in Swedish. One of them belongs to pluralia tantum: humaniora ‘the humanities’, personalia ‘biographical data’, antecedentia ‘antecedents’, spirituosa ‘spirits’, stimulantia ‘stimulants’, psykofarmaka ‘psychodrugs’. The latter two words show a tendency towards singularization and variation in gender attribution. In other lexemes the Latin plural forms have been reanalyzed and are interpreted as singular forms of common gender nouns with the stem in -a: kosmetika ‘cosmetics’, rekvisita ‘properties’, kontenta ‘gist’, prestanda ‘performance’, agenda ‘agenda’, petita ‘demand for funding’.
Nouns with the suffix -um belong to neuter gender and are inflected primarily according to the Swedish pattern: ett datum ‘date’, faktum ‘fact’, centrum ‘centre’, spektrum ‘spectrum’, kuriosum ‘curiosity’. The lexicalization of Latin plural noun forms can be observed when they refer to an indiscrete collective multitude and in most cases leads to singularization. Forms fakta, centra and spektra are used in the singular with markers of neuter gender; fakta can also be used with markers of common gender. The lexicalization of the Latin plural pattern with the marker -a in Swedish and its reanalysis as a singular form reveals a high degree of variation not only in noun inflection, but also in markers of coordination in adjectival parts of speech.

By singing for Denicija, Petre M. Andreevski metaphorically creates his amazing Universe of love, folklore, mythical and fatherland motives, in which love, of course, takes the central position as do the force, action, cognition, joy, lack, pain, death. And all these motives are presented in the introductory “Song for My Song” from the collection “Denicija” (1968), with which on the one hand the poet introduces his “Song above All Songs” and on the other hand its correspondence with the biblical song “Song above All Songs”. Petre M. Andreevski in his verses fully and consciously advocated the phenomenon of the cultural reflection of the Bible in the consciousness of the Macedonian man as a general tradition especially through the “Song above all Songs”

The paper comprises Šafárik’s outlook on the problems of the Slovak ethnicity, culture, language and history both into the context of the European philosophical thinking and of the domestic traditions of thought. Following the works of Slovak and foreign researchers, it establishes connections between Herder’s conception of history and the viewpoints presented in “Slowanské Starožitnosti” (“Slavic Antiquities”), “Slowanský národopis” (“Slavic Ethnography”), “Geschichte der slawischen Sprache und Literatur nach allen Mundarten” (“History of the Slavic Language and Literature by All Vernaculars”), as well as in other Šafárik’s works. Becides these, it puts emphasis also on the intercommunication of Šafárik’s characteristics and the ethnical classification of the Slavs in terms of the context of the contemporary philosophical thinking, while being centred, inter alia, on the problematics of the perception of the nations as the history-shaping subjects, the role of the language as the determining characteristics of the nations and also on the problems of the cultural plurality and the direction of the history.

The article considers the system of gesture images, motives, associations in the “Poems in Prose” by Ivan Turgenev. Attentions was paid to the art of bodily functions, speech, as well as “internal” gestures associated with the comprehension of the labyrinths of consciousness, the boundaries of empirical reality and оneurosphere. As one of the landmarks of the research, we accept the ideas of the poetics of the gesture in the literature formulated in “Gogol’s Art” by A.Bely.

The article provides an analysis of the main types and functions of quotations in a literary text. A quotation acquires the status of a special structural unit: on the one hand, it is integrated into the authorial text as a part of the whole, but, on the other hand, it keeps its relative independence and autonomy, it does not completely dissolve the authorial text. In this connection the article also focuses on the issue of intertextuality, which has traditionally been an area of special interest in linguistic research.

The paper analyzes the principle with which the actor chooses communicative units while creating the character of a fairy tale villain in the film for children (Duke de Malicorne in “The City of Craftsmen”, 1965). It finds out that the actor’s strategy specifics is the variation of the same pattern of communicative behavior in each episode. The paper shows how this task is fulfilled with the help of communicative means of the language, by ignoring the nominative content of the scripts cues. Herewith the variations of the basic strategy are conditioned by the personality of the collocutor. The material of the role gives demonstrates the Russian communicative means’ capabilities and their ultimate aesthetic charge in movie dialogue.

Many notifications on the World Order, which F. Buslaev has made in ‘’The Historical Grammar of Russian Language’’, were confirmed in later investigations. Particularly, the scientist discovered some dependences in the word order of an attributive phrase: the attribute with more constant meaning will be placed closer to a noun than another attribute; adjectives and pronouns behave themselves principally differently (for example, the pronouns’ placement is more free than the adjective’s); even in the earliest Old Russian texts the attribute’s position could be stylistically meaningful. Afterwards, the linguists (not arguing with F. Buslaev, but precising his point of view) came to the conclusion, that it is very important to explore the dialect’s data, because some peculiarities, that vanished from the Standard Russian language, are still remaining there. For example, we can see there the connection between the attribute’s position and the defined noun’s animacy. This dependency was found in the Novgorod birchbark letters by D. Worth, later it was found in the business letters of the 17th century, and finally, it might be still existing in modern southern and north-western dialects, where the possessive pronoun tend to be postpositive with the animated noun.

The article deals with the memoirs of Solovki prisoners – Major Gene­ral Ivan Zaitsev and Archimandrite Theodosius (Almazov), that were written by them abroad after escaping from the USSR. In these memoirs, the Solovki Special Purpose Camp is shown in different ways, but the main thing is the condemnation to the inhuman regime of the Bolsheviks, a description of the iniquities perpetrated on Solovki during the first wave of Stalinist repression.

The article analizes the problem loan words in the Portuguese-written works by the Portuguese philologist of 16th century F. de Oliveira. The material of investigation are “Grammatica da lingoagem portuguesa” (“Grammar of Portuguese Language”), “Arte da guerra do mar” (“Treatise of Sea Warfare”), “Viagem do Fernão de Magalhães” (“Voyage of Fernão de Magalhães”), “Liuro da fabrica das naos” (“Book of Shipbuil­ding”). The author of this article studies the F. de Oliveira’s point of view on loan words and compares its with the vocabulary of investigated works. The word groups of diffe­rent etymology are discovered with the method of total selection: aboriginal vocabulary, Graecisms, Latinisms, Germanisms, Arabisms, Gallicisms, Hispanisms, Exotisms, Internationalisms. The vocabulary of all investigated word groups is also analyzed with the method of semantic distribution.

The article deals with Sergey Minaev’s publicistic works that are compared with his artistic texts in terms of form and content. The phenomenon of melting away of the border between artistic and publicistic text is considered. The functioning of precedent texts in Minaev’s prose was analysed.

Jack London’s name for the first time appeared in Russian critical articles in 1904 when the author himself was still alive. Some reviews on his literary works could be found in Russian magazines from 1910 to 1912. But the real lossom of the criticism of that period began in 1912. In 1912 Jack London was called a little-known Ameri­can writer, but by the 1916 he became a man whose name was familiar to every little boy who loved adventure books. Ideologically this period of Russian criticism is quite homogeneous therefore we can consider it as a whole, without any additional categorization. Apart from the later criticism which already belonged to the Soviet period the articles of this time mainly draw readers’ attention to the artistical features of Jack London books putting social and ideological elements of the literary analyses to the middle ground.
Jack London’s books compared to the vast massive of contemporary European literature that was translated to Russian during the above mentioned period of time were notable because of the simplicity of style and ideological content. In such context his books were outstanding due to their unequalled vivacity and optimism that made his works extremely popular among Russian readers. This simplicity of style greatly influenced the process of creating an image of London as a writer, whose books were written for young people and children, which began in that period of time. The appearance of the common biographical topos, that Jack London personally experienced all the adventures described in his stories and some of his big novels, for example, in “Martin Eden”, can also be referred to 1912. London’s labor biography and extensive experience were easily perceived through the familiar figure of Russian writer Maksim Gorky who was often compared to London.

This article considers the using of artistic technigue that can be united under a common name “the combination of incongruous” in a bard’s song. Оn the example of the Alexander Shcerbina’s oeuvre it investigats the character and frequency of using artistic means like oxymoron, cathartic, pun, hyperbola, antithesis and the complex of them, included in the composition of a work. It compares the features of poetics of the description of the lyric hero’s interior and reflection of his perception of the external word. It presents the way of creating the absurd world in a bard’s song and absurd elements that are characteristic of this kind of creativity.

Based on a number of Greek language texts, this paper undertakes an analysis of idiomatic comments, i. e. idioms that are directly related to communicative situation and serve the function of commenting on certain aspects of communicative situation. We suggest a typology of idiomatic comments in the Greek language texts, observe their communicative and pragmatic function and expand on the definition of idiomatic comments.

The article analyzes the adherence of German scientists to macrostructural invariant of medical research article. The analysis shows the possibility of macrostructural variation under the influence of extra-linguistic factors.

The article analyses the way the same event is presented in print media and online. The focus is on the three texts published by the Daily Mail, the Independent, and BBC Online and covering an incident that took place in Durham, England in May 2017 – a woman found poisonous spiders inside the bananas she had bought from a local store. The comparative analysis of the lexis used in the texts demonstrates that style of online publications is significantly more neutral than that of print media.

The article analyzes the role of Russian classics: Gogol, Turgenev, Tolstoy, and Dostoevsky – and their influence on formation of poetics of Miloš Crnjanski’s novel. In the first novel, “The Diary of Charnoevich” (1921), there are many intertextual links with Russian literature. In “The Relocation” (1929) and “The Second Book of Relocation” (1962), the influence of Tolstoy’s novels is observed, while in “The Novel about London” (1971) it tells of the fate of the Russian emigrant in the modern city. The ties with Russian literature connect not only the novels of Crnyansky, but also his travel notes, firstly of all “The Love in Toscano”, probably the key book for understanding the poetics of Sumatra. In several essays created in the first half of the 1930ies, Crnjanski writes about Russian literature after the October Revolution.

The article analyses the interaction of expressionism, romanticism and baroque with traditions of Buddhism in the works of Serbian writer Miloš Crnjanski. His creativity is shown as an embodiment of the unity of European and Eastern civilizations