The article is devoted to phraseological dictionaries of Polish language, which are considered first of all from the point of view of phraseology’s presentation and criteria of its selection. The differences of authors and editors’ approaches to phraseology apportionment and description are discussed. There is underlined the aspect of complementarity of phraseological dictionaries and its social utility. The attention is paid to the differences of composition and presentation’s methods which mostly depend on the authors and editors lexicographical views.

The article examines the changes caused by historical events in the language of oaths created in the Eastern Slovak city of Levocha for several centuries. These events include the transfer of several neighboring cities as collateral to the Polish Kingdom, the increasing importance of Western Slovakia after the inclusion of most of the Hungarian Kingdom into the Ottoman Empire, the Reformation and recatolization of the population. At the same time, the language of the monument demonstrates that the trends in the development of its language, despite the deviations, generally coincided with the general Slovak ones, which led to the unification of the written language according to the Southwestern Slovak model, although with minor regional differences.

In the article, based on the material of the Czech National Corpus, namely corpora series “SYN version 8” (4.5 billion tokens large), the functioning of the remnants of the old Czech supine in the modern Czech discourse is considered. The forms of the old Czech supine, as is commonly believed, were supplanted even before the Baroque era by infinitive forms. An analysis showed that supine as a grammatical category is absent in the modern Czech and that its only representation reveals in the combination of the verb jít ‘to go’ with the form spat ‘to sleep’, which differs from the form of the infinitive spát by the brevity of the vowel sound.

In the article on the example of the works by outstanding poets Milan Jesih and Boris A. Novak, are considered the current trends and artistic phenomena of contemporary Slovenian versification. Both authors remain faithful to the traditional genre types and forms of the classical poetic paradigm are the sonnet and the epic poems. The sonnet is Jesih’s calling card (the collections “Soneti”, 1989, and “Soneti drugi”, 1993); Novak’s work has recently been associated with the epic (the trilogy “Vrata nepovrata: epos”, 2015–2017). Slovenian poets are distinguished not only by their adherence to the canonical examples of world literature, but also by their innovative attitude towards them, the desire for their transformation and renewal, as well as the active promotion of this approach.

The paper studies the lexical expression of semantics of gift in Serbian dialects and the corresponding cultural tradition. The proto-Slavic and common Slavic word “dar” in the Serbian tradition is primarily associated with a wedding and the child birth. In contrast to this action, the Serbian semantic innovation “poklon” in dialects denotes a thing given away without any connection with any holidays. Apparently, this indicates that the common Slavic word “dar” originally had a sacred semantics and could not be used in secular contexts. The third type of gift, designated by the word “milošta”, is associated with the presents that do not have much value.

The authors analyze the life, activities and views of an unfairly forgotten person in Slovak cultural history: Samuel Ferjenčík, priest, writer, publicist, meteorologist, pomologist, friend of J. Kollar and acquaintance of I.V. Goethe. The article examines his personality in the aspect of the contemporary cultural context. The authors’ attention is also focused on the controversial aspects of his life, namely on his participation in the dispute about the Štúr›s variant of the literary Slovak language, on his speech against the manifesto of J.M. Hurban “Brothers Slovaks” and on his activities during the Slovak National Uprising of 1848–1849. The authors strive for a fair assessment of his views, taking into account the value diversity of the contemporary cultural elite and generational specifics.

The article presents an analysis of the names of flowers in modern Polish, Russian, and Ukrainian languages, borrowed from Latin. Statistics illustrate the high representation of the studied nouns in the lexico-semantic groups “Names of flowers” in the all these three Slavic languages, as well as the significant number of interlanguage equivalents and correspondences recorded among them. The author described the features of the transfer of Latin names in recipient languages (such as lack of stability in some names, reflection of graphic features, grammatical transformations, changes in the word basics). Particular attention is paid to hybrid names presented both at the word-formation level and at the level of composite names; to names, which represent examples of a deep degree of adaptation of borrowing; to cases of borrowing Latin names that arose as a result of penetration into the botanical nomenclature of foreign-language names.

The publication is the final part of the research dedicated to the analysis of the results of written works made by the students of inter-faculty courses of science fiction and fantasy studies undertaken at Lomonosov Moscow State University during 2013–2020. In the previous articles we provided statistical data on the students’ composition, summarized information about their favorite writers and books of science fiction and fantasy as well as about preferred types of such a literature; summarized students’ remarks about under what circumstances their interest to science fiction and fantasy has been emerged. In this publication we introduce the students’ considerations on future and also on books of science fiction and fantasy the students are planning, may be, to write themselves.

The study was carried out by the method of semantic communicative analy­sis, which the author expands to Russian kinesic means (pose, mimic, gesture). These means are regarded as units of communicative level which reflects the interconnection between the position of the speaker, the listener and situation. This system includes such elements as the purport, variative sets of constructions as well as the units these constructions are made of. These means are not only heterogeneous (in particular, they include both verbal and kinesic units), they are characterized by extramentality of mea­nings and require special methods of defining their semantic parameters. In the paper with the help of scientific instruments of the school of semantic communicative analysis, the invariant parameter of Russian “shaking one’s head” gesture is identified. The obtained results can form the basis of the vocabulary description of this gesture in the dictionaries of a new type. The article also covers the question of the functioning of “shaking one’s head” gesture within the artistic text, where it aquires an aesthetic charge.

Language creativity increases dramatically during periods of great social changes and upheavals. The period of acute “health crisis” 2020–2021 demonstrated both the amazing ability of the French language to quick enrichment and the ability to resist foreign influence. The article describes the priority models and methods of word formation, which turned out to be the most popular in a given time period, namely, prefixion, stem composition and telescopy. It is stated that in the field of prefix, the take-off of the activity of a particular prefix is associated with a certain stage of the development of the pandemic. Stem composition in the modern language is dominated by the highly productive non prepositional model “Nom+Nom”. Dictionary corpus is also supplemented by “scientific” composites built according to new priority models. As a reaction to the severe times of pandemic and isolation, numerous telescope neologisms are born.

Roland Barthes, a French philosopher and linguist, influenced the entire world philology. The basis of all his scientific works is the development of a methodology for studying a literary work, an important task of which is to establish the structure of the work. Barthes’s complements the formulated theoretical propositions with examples of the analysis of specific works, which are examples of structural analysis for literary researchers. Bartes’s scientific and methodological heritage is defined by three main concepts: structuralism, semiotics and linguistic symbolism, which are consubstantial concepts, closely related to each other. According to Barthes, structuralism, generated by the language model, appears as a type of creative practice consisting of the dismemberment of reality, and then of its reconstruction based on the analogy of the functions of the detectable units. Bulgakov᾿s work “The Master and Margarita” has never been subjected to structural analysis following the example of Bartes able to reveal its semiotic and symbolic meaning. The article is devoted to the structural consecration of the genre belonging of the work as a personal “diary” of the writer and the intentional interaction of two large narrative units that make up the intertext. Barthes’s semiotic structuralism helps to see the writer’s unique innovation in the narrative structure of the work, deep symbolism generated by biographical and historical sociology.

The article analyses the image of a seashell as a part of poetry and prose of Sofia de Mello Breyner Andresen, one of the key-figures of the 20th century Portuguese literature. The research was carried out using the methods of contextual, stylistic and semantic analysis. The results of the study indicate that the image of a seashell occupies a significant place in the work of Sophia de Mello due to a wide range of meanings associated with it. In poetry and prose of the writer, the shell is presented not only as a detail of the seascape, but also as a symbol of harmony, poetry, soul and the manifestation of the divine in the real world.

The article is devoted to the study of the prospect of introducing knowledge of the history of the Russian language in the teaching of Russian as a foreign language in China. This article reports the main results of a survey of teachers and students and testing in Russian morphology, specially compiled for the current study. Particular attention is paid to the analysis of the mechanism of error origin and ways to overcome them.

Medieval women’s mysticism is characteristic to the European Middle Ages literature where there is a certain number of Italians. The authors’ desire to describe her own mystical experience as correctly as possible raise the problem of “expressing the inexpressible”, which results in using of characteristic linguistic means, stylistic as lexical. On the example of the texts of Angela da Foligno, Catherine of Siena and Catherine of Genoa, the article presents some of linguistic peculiarities of Italian medieval women’s mysticism: stylistical (the use of intentional tautologies, similarities, parabolas, metaphors, lithotes), and lexical (the use of courtesy and love lexis, as well as lexis related to the themes of motherhood, divine nursing, blood, nutrition and purification).

The celebration of the centenary of the Macedonian poet, scientist and public figure Blaže Koneski (1921–1993) is a reason to appreciate his large contribution to Macedonian literature. The essence of his lyrics is a deep connection with the folk and world art traditions, and the Russian one among them is the morest important (Pushkin, Yesenin, Mayakovsky, Blok, etc.).

This text is a small contribution to the celebration of the great jubilee – 100 years since the birth of Blaze Koneski, who draws a map with the most important contacts he made with the world and especially with the Russian Slavists. It has been written and corresponded on several occasions, and parts of it have been read on several occasions: – at the opening of the First Winter School of ISMLLC (International Seminar on Macedonian Language, Literature and Culture) at UKIM, which was held from January 25 to February 5, 2021 at a distance (online) on the Zoom platform as director of this institution; – at the presentation of the round table on the topic: “Koneski – the bridge that connects the Macedonian and Russian Slavists” organized by RC (Russian Center) and ISMLLC at UKIM which took place on March 18, 2021 online (online) on the platform Zoom and – at the solemn event on the occasion of 45 years of study of the Macedonian language, literature and culture at the Faculty of Philology of the Moscow State University “M.V. Lomonosov”, as part of the annual program of the International Seminar on Macedonian Language, Literature and Culture (ISMLLC) at UKIM, realized within the Program of the event “2021 – A year in honor of Blaze Koneski” under the auspices of President Stevo Pendarovski, as well as the Ministry of Culture in cooperation with the Ministry of Education and Science.

The Russian culture has prominently been a field of interests of Blaže Koneski. A number of works capture the Russian emigrants, with whom Blaže Koneski was acquainted. Their vivid images complement the representation of the Russian diaspora life and fate. The article introduces three works of the writer. Each of them is dedicated to one Russian: a librarian of the Institute of Slavic Studies in Paris Vladimir Vladimirovich Butchik, an outstanding scientist Vladimir Alekseevich Moshin and one Russian hegumen Vitaly.

The review is a detailed analysis of the premiere performance “The Story of the Seven”, based on the “The Story of the Seven Who were Hanged” by Leonid Andreev directed by Ivan Komarov on the “Other” Stage of the Sovremennik Theater at the end of 2021. The author of the review focused on the problem of “translating” the epic work into the language of drama. Particular attention is paid to the “key” moments of the prose text, which became an impulse for the director, pushing him to the figurative embodiment of the word. A comparison of the composition of Andreev’s story with the compositional solution of the play is made. It also is pointed to a particular expressionism of the stage performance, which does not coincide with the stylistic of Andreev’s expressionism, which shows the freshness and originality of the director’s and actors’ approach.