The article deals with the specific model of translation of cultural codes in the 20th century Balkan literature and art. The author highlights explications of translation of various kinds: the motif of the crossing-bridge and the scheme of the narrator-mediator in I. Andrich’s prose, border forms in the South Slavic art of the neo-avant-garde of the 1960s (the group “Medial”), the multilevel borderzone in D. Ugreshich’s prose, problematic communication in visual concepts of Christo. The general strategy of translation-as a-transfer demonstrates an antinomy of the Balkan model of the world: the translation as a bridge designed to connect here divides the participants in the communicative process. The texts of different classes and poetic systems are marked with extremes: “translation” is implemented in the range from metaphorical silence to over-communication.

M.M. Stepanova᾿s “In Memory of Memory: A Romance” (2017) is conside­red in the context of the socio-cultural situation of recent decades from the point of view of the main narrative strategies of the “literature of memory” of the postmodern era. The author comes to the conclusion that the method of artistic and documentary research by M. Stepanova can be described as “paralogical”, which is confirmed by the analysis of the artistic elements that make up the text of this romance-novel.

The article discusses speech strategies and speech tactics, the use of which is typical for the webinar genre in its educational (training) implementation. It was revealed that the addresser and addressees of the webinar mainly resort to constructive speech strategies and tactics. The leading strategies are informing, imperativeness and cooperation, also strategies of argumentation, positive presentation, self-presentation, gaining authority, “distance management”, comic impact, etc. are used with appropriate constructive speech tactics aimed at establishing contact, productive joint activities of the addresser and addressee. Potentially, the strategy of manipulation and discrediting, the tactics of discrediting someone else’s authority (in the strategy of gaining authority), etc. can also be used. Note that examples of the use of destructive strategies and tactics are very rare.

Muwashshah and Zajal are important sources on the Mozarabic historical dialect. These poetic forms, unknown to classical Arabic versification, were created in Muslim Spain (al-Andalus). They often contain Romance words written in Arabic script (in Alhamiado). Many muwashshahs end with harjs (couples) in the Romance language. In zajals, there are also not only individual Roman words, but also entire lines in Roman. The most famous writer of zajals is the Arab poet from Cordoba origin Ibn Kuzman (c. 1080–1160). In muwashshahs, words in Romance are found in the last couplet, called kharja, and perform a structure-forming function. In zajals (developed from muwashshah), romanticisms are found throughout the text and perform a stylistic function.

The article dwells on the issue beset with comparative analysis of morphological peculiarities and level of usage of the suffix -он/on in the Tajik literary language referring to the XVIII-th and XX-th centuries. It is underscored that the relevant suffix is considered to be one of the frequently used ones.
Proceeding from the adduced analysis concerned with the theme explored the author of the article asserts that possibilities of formation of plural nouns by means of the suffix -он/on in the language of comparative periods shows that the scope and specificity of the use of the relevant linguistic element is characterized with wide scales.
It is concluded that the suffix in question is used to plurify different kinds of nouns, such as animate and inanimate, personal and non-personal and borrowed words as well.

This article is carried out within a scientific project supported by the “Zhivaya traditsiya” (Traditioviva) Development Fund and dedicated to a detailed theological and philological analysis and commentary on the translation of the Letter to the Grand Duchess Christina of Lorraine (1615), which is part of the series of “Copernican Letters” by Galileo Galilei. It was in these letters (besides the letter to Christina, there are also a letter to Benedetto Castelli of 1613 and two letters to Piero Dini of 1615) that Galileo formulated the principles of a new scientific method of understanding the world, referring to the discoveries of Nicolaus Copernicus. In the letter to Christina, the most striking and important of this series and still not translated into Russian, Galileo expounds in particu­lar detail, consistently and fully his position as a natural scientist, parrying reproaches for the incompatibility of his scientific conclusions with the Holy Bible. But Galileo is not only a scientist, theologian and philosopher. He is also known as a man of letters, a writer, a representative of baroque literature and the founder of the scientific style in the Italian language, which deserves special attention. In the Letter to Christina, one can note the characteristic features of Galileo’s scientific style: simplicity of terminology, metaphorical scientific descriptions, emotionality, complex syntax, aggravated by multi-tiered subordinate clauses, homogeneous subordinate clauses, wide use of gerunds.

The article analyzes the previously insufficiently researched art program of Nicholas I in Florence. That is – the study of the museum fund of Italian and European paintings, orders of art copies within the framework of the general state policy of copying similar to the policy of France and Italy, replenishment of the museum fund of St. Petersburg and Russia. Based on documents kept in domestic and foreign archives, modern literature of art historians in Russia and Italy, the author draws attention to the “pitfalls” of the classical art market in Italy, which the Russian monarch faced. His artistic preferences are also analyzed; his contribution to the formation of the museum fund of St. Petersburg and Russia is assessed. The features of the “Russian approach” to copying are revealed, which acquire relevance and practical significance during the pandemic crisis and modern technologies.

The numerous scientific contributions of Alla Sheshken presented and published in Proceedings of the International Seminar of Macedonian Language, Literature and Culture in Ohrid, reveal topics dedicated to the penetration of Macedonian-Russian literary ties through an intercultural prism. Using a comparative approach, a number of topics on several essential topos are treated: Fyodor M Dostoevski and Macedonian prose; translation and study of Macedonian literature in Russia; reception of the work of S. Janevski and B. Koneski in Russia; M. Bulgakov and Macedonian literature; the contribution of M. Gjurchinov in the affirmation of the scientific interest for the Russian literature in Macedonia, etc. Numerous papers include Alla Sheshken as one of the most passionate scholars and affirmers of the Macedonian-Russian intercultural relations.

The literary creativity of Blazhe Koneski is one of the main scientific interests of Alla Sheshken, professor at the Lomonosov Moscow State University and member of the Macedonian Academy of Sciences and Arts. Her books “Themes on Macedonian litera­ture: The 20th century” and “Studies about Macedonian Literature” are interpretation of Koneski’s poetry and his translations. The article is focused on three trends of these studies: 1. the interpretation of the influences of Russian literature on Koneski and analysis of his translations of Russian poetry, 2. the influences of folklore on Koneski’s works, and 3. the role of Koneski in the development of Macedonian literature.

Anthropocentrically directed phraseological units, as a kind of core of the phraseological fund of any language, are always an interesting object for linguistic research. This paper will consider Macedonian and Russian phraseological units that have a zoonymic component in their composition and are used to denote positive traits of a person’s character (meekness, fidelity, diligence, courage).

The paper examines the category of chronotope in the postmodern novel “The Paradise Gatherer” by Evgeniy Chizhov. The category of temporality is interpreted in a new light and presented as simulative. A detailed analysis of the concept “historical inversion” is completed; the transformation of temporality is presented in which time in the novel scatters, losing its attributes of present and future, thickening into the past and passing into the space of irreversible myth. Also, the paper addresses the chronotopes of main characters, conducts comparative analysis of large and small, personal and world narratives, and highlights the borders of the narrative space and time of main characters Kirill and Marina Lvovna. An essential part of the research is the reinterpretation of such categories as “thingism” and “the memory of the thing”. “A thing” is presented as a singulative point which structurizes time and reproduces the past. The concept “thing” is shown as a notion of the unity of space and time thickening into one specific, singulative point.

The article is based on a study of incidence of omitted question mark at the end of interrogatory sentences in informal Internet-based discourse. Private communication in a number of social networks (“VKontakte”, “Facebook”, “Instagram”) and messengers (“Telegram”, “WhatsApp”) was analyzed, and it was found that the question mark was absent in 30 % of all reviewed interrogatory sentences. The article discusses these points: why the question mark is rudimentary now, what mark may take the place of a question mark at the end of an interrogatory sentence and if the omission of a question mark prevents the addressee from understanding the addresser’s communicative intension. The article offers special classification of interrogatory sentences that corresponds to informal communication reality. It also describes a psycholinguistic experiment that illustrates the aforesaid thesis. Thus, the results of the study show that question mark at the end of an interrogatory sentence in informal Internet-based communication is optional, used at the discretion of participants.

The article considers the phenomenon of creole languages as a result of the convergence of different language systems within the theory of language contacts, gives a characteristic of the lusocreole languages and their classification. An important aspect of the work is a sociolinguistic comparative analysis of African and Asian lusocreole languages that regards some linguistic features of the widespread lusocreole African range and more isolated lusocreole languages of Southeast Asia and pays attention to the status of mentioned languages in these territories, local language policy and the nature of the relationship between creole and non-creole languages which is based on the concept of diglossia.
The article discusses the development ways for African and Asian lusocreole languages and expresses concern about the processes of decreolization, which may in the future contribute not only to withering, but also to the complete disappearance of the original lusocreole cultures.

The work examines the features of the semantics of a proper name and surname on the material of the Yakut language, the source for the analysis is the surnames of the inhabitants of the Verkhnevilyui ulus [Phonebook 2010]. Analyzing surnames, many explained the meaning of surnames, relying on folk etymology, which comes from the root base of the word and correlates the generic name with its meaning. It was revealed that the origin of surnames has historical roots, and there are also surnames that originate from Yakut nicknames, places of residence. Currently, some people do not know the origin of their surname, the history of their family, studying the history of the origin of their surname, can helps to know a lot about the history of the formation of a kind and family tree. Whatever the motives for the emergence of a personal name, they will certainly reflect the peculiarity of everyday life, spiritual wealth and worldview of the people who created them.

The article deals with the linguistic means of genre formation of the cyberpunk novel “Labyrinth of Reflections”. The process of analysis took place taking into account genre deformation: S. Lukyanenko presented an ideological and artistic innovation, which consists in including in the text of the novel the motif of “the human face”, of course, uncharacteristic for the cyberpunk genre. It was noted that, despite the departure from the canons of the genre, the language of the work has not lost its artistic power, still performing the function of genre formation. We studied such linguistic means as toponymy, which divides the space of the work into a real and virtual plan, occasional formations that actualize the signs of cyberpunk, terminological and borrowed vocabulary, which is the main means of stylizing the work, anthroponymy, which characterizes the plot-forming images, individual author’s metaphors, which perform a whole range of functions to create a virtual space and reflect the author’s intentions. The results of the study showed that the dominant language level of genre formation is lexical and stylistic, which primarily represents the artistic world of the novel as a spatio-temporal phenomenon identical to the world of “dystopia of the future”.

The review is an analytical review of the ego-documentary text, which opens a new series “90s: Personalities in History”. The authors paid special attention to the choice of S.M. Shakhray of a flexible narrative strategy that allowed him to recreate a picture not only of the “dashing nineties” in our country, but also to go beyond these spatial and chronological coordinates. Research interest is also attracted by the concept of understanding the past as an experience of self-knowledge: the versatile hobbies of the memoirist allow him to talk about politics and jurisprudence, philosophy and fiction. The reviewers highly appreciated the directness and uncompromisingness of S.M. Shakhray when creating images of “controversial” historical figures (B.N. Yeltsin, B.E. Nemtsov, A.A. Sobchak, Ye.T. Gaidar), the absence of “court” reverence in stories about meetings with high-ranking persons (Elizabeth II, Prince Charles, R. Nixon, etc.). The book is intended for a reader who is ready to see not a black and white picture, but a multicolored and voluminous reality of the recent history of his country.