The author analyzes the concept of “traditional bookishness” in scientific discourse, noting its unreasonably wide, not terminological, but rather metaphorical use. The reasons for this seem to be: 1) an arbitrary idea of the scope and composition of this concept, which, depending on the field of knowledge, can be identified with folklore works, and sacred texts, and with medieval literature in general, and with the literature of reflective traditionalism, and with “ready word” narratives, etc.; 2) understanding of traditionalism as a single, homogeneous and monolithic creative system, while it appears in at least three of its modifications: traditional-canonical, conservation-etiquette and imitative-rhetorical.

The article examines the creative originality of the Swedish writer Hjalmar Bergman, the creator of the original aesthetic concept, which he embodied in his novels of the first third of the 20th century, combining funny and tragic, fantastic and real, sharp grotesque and psychological depth, which served to affirm the ideals of good and humanity.

This paper examines new resultative future tenses in Macedonian. Future resultative and Future resultative in the past are formed by the future particle ќе and the auxiliary verb има in present or imperfect tense respectively and the -n/-t participle neuter form. Recently these tenses were considered only as possible elements of the Macedonian verb system. The collected data of examples (over 600 instances) allows us to investigate their semantics and conclude that the forms expand their usage.

The subject of interest of this paper are interpersonal relations and their expression through zoonymic phrasemes in Macedonian Language. The nature and quality of interpersonal relationships, the degree of cooperation, trust and mutual respect, the specific psychological atmosphere and the emotional connection between people are processed according to the Vidovic Bolt model (Vidovic Bolt 2011: 128–134) which includes mutual understanding, equality in relationship on one side and humiliation, scolding, gossip, deception, dissent, punishment, murder etc. The purpose of this paper is to present the diverse and rich picture of interpersonal relationships created with the help of phrasemes that have a zoonym as their component, to determine the mechanism of meaning formation in these units.

The paper summarizes Rina Usikova’s conclusions presented in her paper “Russian Slavonic for Macedonian before Its Codification” about the linguistic research made by V.I. Grigorovich, A.M. Selishchev and S.B. Bernstein in connection with their interest in the Macedonian language in Russian Slavic Studies in the respective period.

Lyric poetry in Macedonian literature, continues to have the status of one of the dominant literary genres, attractive to authors of different generations. This text offers an interpretive and typological overview of six books of poems from the recent Macedonian poetry, published in 2021–2022. The interpretive focus is placed on the thematic, structural, compositional, and stylistic features in the poetry of Zoran Anchevski, Risto Lazarov, Sande Stojchevski, Violeta Tаncheva-Zlateva, Daniela Andonovska-Trajkovska, and Andrej Al-Asadi.

This paper is dedicated to the events of the Macedonian literary scene in the period after postmodernism, with a separate focus on the poetics of the authors born in the 70s and 80s of the 20th century. At the same time, the question of the poetic (un)coverage of the authors who debuted in the end and after the end of postmodernism is separately opend, while analyzing whether in the current moment, in the Macedonian literacy area in general, a separate stylistic formation can be recognized, but at the same time, is the postmodernism really over? By tracing the development of Macedonian literature, it is also analyzed whether it is even possible to speak of new literary generations in the sense in which the literary generation was prevously regarded in the Macedonian literary history. With this, the paper builds on the insights of Ala Sheshken in relation to the Macedonian literary history, with that it touches to the period of postmodernism, but then follows a great (future) challenge – how literary science will (can) valorize the current literary reality.

The article deals with the translations of Blaže Koneski’s poetry into Russian. It is shown that, despite some deviations in the choice of vocabulary, stylistic figures, etc., the thoughts, ideas and feelings of the poet are correctly conveyed by translators and sound equally good both in Russian and in Macedonian.

The depth and brightness of the concept of ‘variegated’ became the source of the polysemy of terms that are used as attributes. This article proposes to analyze and describe the cases of the most frequent way to designate multi-colored in the Macedonian language. Such a term becomes a derivative from the common Balkan root ‘šara’. Given the dictionary interpretations of the adjective ‘šaren’, one may indicate that variegation characterizes an object as composed of different elements, decorated with a pattern or painted in different colors, heterogeneous. However, the found contexts testify to a wider range of meanings of ‘šaren’ in the Macedonian language.

This paper examines Rina Usikova’s contribution to the research on modality in the Macedonian language. It includes texts from her scientific papers and books written in the period from 1985 to 2008. We note her constant interest in this topic in the Macedonian language and the progress achieved in the research through the constant increase of the information we receive from her articles. Usikova’s main interest are the moods: the indicative, the imperative, the conditional, the conjunctive, the category of evidentiality and the use of the da-construction in combination with the modal verbs. The modal words are also a part of her research. We tried to make a synthesis of her research on modality in Macedonian, while giving her conclusions

The paper deals with the speech accent of the Village of Stajkovce inhabitants, as well as the presentation of the most significant accent features of the Prizren-Timokian speech. It determines the place of speech accent in the municipality of Vlasotince. For the purposes of this work, we recorded the speech of twelve respondents. These respondents were divided into two age groups with three male and female respondents in each. Considering the achieved results, we can conclude that in the most types of words, with some exceptions, the accent remains stable. We can conclude that speakers younger than 40 years old provide us with more exceptions than the representatives of the aged group. Sometimes differences occur in the speech of different genders respondents within the same age groups, but they are not frequent, so we can attribute this as the speaking situation.

The article continues series of author’s publications on Count D. Khvostov’s works and is a sketch for a large work devoted to the reception of Russian literature in Khvostov poetry. There is an extensive literature on A. Pushkin and Khvostov personal and professional relations. This article presents some textual cross-talks of two poets, which may be the beginning of new interpretive paths.

The article dwells on the issue beset with comparative analysis of morphological peculiarities of demonstrative pronouns in Tajik-Arabic languages. It is noted that the issue concerned with subgrouping pronouns in the comparative languages is considered to be one of the most important ones, because in Tajik linguistics, consideration of pronouns has not yet been given a general theoretical opinion. It is worth mentioning that demonstrative pronouns occupy an important position among indicative words and by means of them the speaker separates any objects from their peers and draws the listener’s attention to them.
To sum it up, the authors of the article make an inference that the relevant part of speech is widely used in the comparative languages. The theme explored are considered to be the oldest group of indicative words.

The article discusses the concept of the Crimean text in relation to the autobiographical story of I.S. Shmelev “The Sun of the Dead” (1923). Attention is paid to the image of the multinational space of Crimea; the description of the peoples represented in the story (Russians, Tatars, Greeks, Ukrainians) is correlated with the concept of “national image of the world”. Shmelev’s interpretation of the mentality of the Crimean Tatars is analyzed in the context of religious priorities, details of the landscape, life, food, and external portrait. Interethnic parallels are drawn at the level of the storylines of the characters, points of intersection of cultures of different peoples are found. The conclusion is made about the similarity of the fates of characters of different nationalities, their opposition to the Red Army punishers, whose characteristics are non-national.

this article analyses the formal organisation of one poetic text by the poet Nikolai Morshen. The focus is on the relationship and nature of interaction between the visual and the verbal in the Morshen’s poem and two works by the artist, the poet Vilen Barsky. The poetic text can use various graphical devices and means of expression, from punctuation and orthographic irregularities to unusual positioning of signs on the page or absence of signs altogether. Morschen’s text and, as will be seen, Barsky’s work follow a paradigmatic model which allows for maximum engagement of the reader in the process of text creation and decoding. At the same time, it helps us to clarify the unobvious, hidden from a superficial glance meanings of words. The method of the two authors work with the text is similar in many respects, but it is not correct to identify their tasks: with Barsky the semantic weight is attached to the visual component, rather than the verbal one; with Morshen, on the contrary, the word is interesting above all – the graphic component is designed to support and enrich the content.

The paper follows specific features of the concept CHALLENGE and its comprehension in terms of the English-speaking culture. Present-day meanings and uses of the target lexeme are analyzed on the basis of British and American mass media. Etymology dictionaries and historical texts used within the framework of the present article are aimed at discovering shifts in the word’s meaning and demonstrating the building of the word meaning process. The major focus of the research is the analysis of various English corpora, which makes it possible to come to conclusions concerning the semantics of the target lexeme on the basis of large sets of original English texts.

The subject of this paper is the image of the Moon in the works of the Guatemalan indigenist writer Miguel Ángel Asturias. His artistic reality can undoubtedly be called magical. Nobel laureate, he let the voice and spirit of Guatemala into his works, revived the mythological and legendary past of his country. Here Maya myths, witchcraft and dreams are closely intertwined with reality. In Asturias’ Guatemala universe the Moon rules the over mythological space and time, carries the heroes into the world of dreams, rituals, magic and shapeshifting. The image of the Moon is the key to understanding Latin American literature, and within the artistic image of Latin American night helps a person to perceive himself and the true essence of being. The Moon is Asturias’ works possesses the property of mirror and dublicates reality, creates the doubles and is the one itself. In this paper we consider the influence of the moonlight on the landscape and the metamorphoses it initiates in the Asturias’s characters. The Moon becomes the conductor of the mystic gift to change the world by words in “Legend of the Singing Tablets”, helps the “Men of Maize” characters to unite with their naguals, reveals the image of love in the play “Kukulkan” and tunes the ritual time in all the works named.

V.K. Trediakovsky, criticizing the tragedy of A.P. Sumarokov “Khorev”, draws attention to the character of one of its heroes, Kiy, whom Trediakovsky calls “hypochondriac”. Those features that the critic probably invested in the definition of a hypochondriac are also represented in the image of another character Sumarokov: in the tragedy “Semira” they are found in Oleg, who also performs the function of a ruler. A comparison of these heroes allows us to establish that Sumarokov not only does not avoid the traits criticized by Trediakovsky, but also develops the created model, improves the image of the hypochondriac ruler. The special psychological certainty that this hero characterizes can be explained by the autopsychological principle of this character.

The article studies William Blake’s approach to the genre of vision and its conventions, viewing Blake as a romantic poet and the creator of his own mythopoetic universe. “The Book of Urizen”, the first one of Blake’s minor “prophetic books” reveals innovative features which Blake introduces to the tradition. Unlike medieval authors of visions, Blake emphasizes the importance of poetic imagination while keeping to his role of a medium and transmitter of the “supreme knowledge”. Although Blake focuses on sensual images (what is typical for the genre of vision), he makes the main character of the poem sensually unknowable, as if opposing him to his own narrative and the tradition of the genre in general. This unknowability of the character underlines Blake’s idea of the depravity and fatality of Urizen’s fate and his determination to destroy all vital existing oppositions, including the opposition of divine and human. Blake rejects the traditional didactic pathos of visions which is manifested, for example, by the fact that none of his characters has the absolute knowledge of the processes going around him. In his poem Blake rather condemns and warns, thus bringing us to the origins of the genre tradition – i.e., the prophetic books of the Old Testament.

The article is about the three-day scientific and practical school of Serbian studies, dedicated to the language, history and culture of Kosovo and Metohija. Students and postgraduate students from different cities of Russia, as well as from Belarus, Serbia and the Republika Srpska participated in the event. They listened to lectures by professors of Serbian studies and researchers from the Russian Academy of Sciences, and presented their own research in the field of the Serbian language and culture. The program of the school also included cultural and entertainment events, such as the performance of the music group Balkanimans, a visit to the Embassy of Serbia, an excursion to the Moscow Kremlin and a meeting with graduates of the Faculty of Philology of Moscow State University.