The article is addressed to the contemporary literary material – A.Grigorenko’s long story “The Blind Dudu Lost” (2016), where the variation on the theme of the modern “little man” is touched by the Siberian coloring and is originally inscribed in the context of family and social history of the second half of the last century. The “text” of everyday life is enriched in the work by mythopoetic associations and reaches the level of parable generalization.

The article analyzes the aesthetic views and main artwork motives of Jens Peter Jacobsen, who actively participated in the Georg Brandes’ cultural movement “Modern Breakthrough,” that aimed at creating a true to life problematic art. Jacobsen made a significant contribution to the development of literature in Scandinavia, which by the end of the 19th century reached the forefront in Europe.

The article examines epilinguistic information on the language situation in Andorra within the framework of research dedicated to the ethnography of language policy in this country. Despite the favorable situation for the only official language - Catalan, epilinguistic statements of language policy subjects indicate the expansion of the functionality of the Spanish language through its use “by default” as a language of communication between speakers of different languages, a language of social integration for migrants, a language of private business, and in a number of other spheres.

The article considers the formation of the individual author’s meaning of the lexeme “reverence” in the academic register of the Church Slavonic language of the second half of the 17th century. This register is characterized by an attitude towards language as an object of modeling, which in many ways determines the search by Epiphany Slavinetsky and Arseniy Satanovsky, translators of the text, for different translation strategies. In this case, the authors use the technique of creating a new meaning for a lexeme already existing in the linguistic arsenal – a technique that the tradition of describing the history of vocabulary allocates only for the language of the next century.

The subject of the study is the description of cases of negative expressions that are difficult for foreign students. For this purpose, the reasons for the existence of problems with the use of negative particles “not” and “neither”, as well as the union “neither ... , nor ...” are considered. Further, the features of the use of negative particles in two-part sentences with a subject in the nominative case and in non-nominative (impersonal) sentences are explained. A system of exercises for practical exercises is also given. Thus, this material can help both teachers and students in mastering this complex topic.

Proverbs are an ancient and known part of folk literature. Wisdom, philoso­phy, ethical norms, experience and aesthetic ideals of the folk is seen in the proverbs. At the current stage of the development of linguistics, comparative analysis of proverbs in different languages has become increasingly important. This article compares Russian and Turkish proverbs that involve the concept of “family”. Proverbs about family make up a significant group in both languages. Concept of “family” plays an important role in social structure and reflects the collective mind of society. The aim of this study is to compare the semantic features of Russian and Turkish proverbs and to identify their common and national characteristics. During the comparative analysis of proverbs, we aimed to identify the links between the facts of different languages that reflect the common culture of their native speakers and the specific features inherent only to a particular cultural background. The relevance of the topic lies in the fact that for the first time the proverbs in Russian and Turkish languages with the component “family” are considered in terms of comparing their semantic characteristics.
In the result of the comparison of 155 proverbs (81 Russian and 74 Turkish) involving the concept of “family”, common and national features as well as similarities and differences in their meanings were revealed. The data has been analyzed and presented in four charts.

The article dwells on the issue concerned with morphological peculiarities and the level of usage of composite adverbs (CAs) in Tajik literary language referring to the 18th century on the example of the historical writing entitled as “Tuhfat-ul-khoni” by Muhammadvafo Karminagi. It is underscored that CAs are more productive in terms of their use than other types of adverbs in the corpus of our study. It is worth mentioning that the level of usage of CAs denoting degree, manner, place and time is different, for example: CAs of degree – 22 times (8 %), of manner – 67 times (25 %), of place – 27 times (10 %) and of time – 150 times (57 %).
In the course of exploration we noticed that CAs are created and used with simple prepositions то/to=till, up to, to; ба/ba=to; дар/dar=in, at, on as well as with the Arabic preposition фа/fa=then, like MTLL ones from nominal parts of speech and Arabic borrowed words; however, Arabic CAs are more productive than Tajik ones, including the level of usage of Arabic CAs being 42 times (70 %) and Tajik ones – 18 times (30 %).
It is concluded that the adduced researches and comparisons have shown that a number of CAs can be found in the written heritage of 17th–18th centuries, and most of them are preserved and used in MTLL.

Works of N.I. Tolstoy on Slavic culture, medieval literature and folklore formed Russian ethnolinguistics as well as a common interdisciplinary field for modern research of the “third culture” – an urban, democratic culture that inherits traditional forms of life and worldview and at the same time using all the advantages of writing (and nowadays – digital literacy). The article on the material of the Old Believer verses and handwritten soldier’s notebooks of the second half of the 20th century discusses the question of the relevance of the ideas and approaches of N.I. Tolstoy to analyze of these late remakes of the “archaic ritual-dialogue”.

This study is devoted to the search for literary connections in the works of L. Carroll and L. Andreyev. The principles of the satirical portrayal of the court on the material of the fairy tale “Alice in Wonderland” and the drama “Tsar Hunger”. Both authors express their critical attitude to the court and expose its shortcomings in a manner typical of each of them. At the same time, satire is not the final or only goal in either text. The analysis reveals similarities in the construction of the court scenes. Common features of the characters are revealed. Two pairs of correlating images are distinguished. The texts partially coincide with the artistic techniques used, including the grotesque and the deliberate violation of logical connections. The texts differ in the functions of the comic.

The article is devoted to the analysis of some poetic works by Alexey Parshchikov and Alexander Yeremenko. The features of the interaction of time and space in the artistic worlds of the selected authors are described. The role of the rhythmic design of poems and the effect of “flickering” is considered. The differences in the authors’ approaches to the technique of transferring the hero from the ordinary world to the chaotic metarealistic world are discussed. Special attention is paid to the techniques of metabolic construction of artistic worlds, as well as their “turning out” (“inside-out”).

The article is devoted to the “plot of seduction” in Mikhail Lermontov’s long story “Princess Mary” through the prism of perception of the heroine. This approach is conditioned by the transformation of understanding of the plot in Russian literature in the first half of the 19th century, in particular – in some of the writer’s works (“Demon”, “Princess Ligovskaya”, “Princess Mary”). The author concludes that this process is inextricably linked to Mikhail Lermontov’s reflection of moral and philosophical categories of Contempt, Hatred and Love.

The article is devoted to the imagery in the first two poetry books “Do Not Distract the Driver” and “The Clavichords of Silence” by Nikos Engonopoulos, one of the brightest representatives of Greek surrealism. In his early works, the poet follows surrealist principles, the main of which is the principle of building paradoxical, illogical connections between ordinary objects. With the help of such connections it is considered possible to comprehend surreality. At the same time, the absurdity of images is not tantamount to incomprehensibility: their repetitions and use in various contexts made it possible to single out several key images and offer their interpretation in this article.

This article establishes a system of paradigmatic associations of compound abbreviated onyms, which is based on the conceptual apparatus of compound abbreviated appellatives. We consider such varieties of paradigmatic associations as an equivalence nest, an abbreviation nest, an abbreviation group, an abbreviation field and an abbreviation paradigm as applied to complex abbreviated onyms. The results of the study help to draw a clear line between compound abbreviated onyms and compound abbreviated appellatives, and also allow us to speak of the existence of a separate microsystem of compound abbreviated onyms.

The article examines the characteristic features of the 13^th century Spanish language (based on the collection of proverbs “Kalila and Dimna”), particularly the use of subjunctive mode: the future (Futuro del Subjuntivo) and the past (Imperfecto del Subjuntivo) of the conjunctive. Along with some other features of the Castilian romance morphological structure, the use of conjunctive forms demonstrates a low level of the language normalization, undergone a codification process in the 13^th century.

W. Scott’s novel “Quentin Durward” is particularly interesting in view of genre issues, as it demonstrates the vivid polemic between two literary traditions. The motives and images considered in thе article make it clear that Scott inherits the tradition of the medieval romance not only in his works devoted to Scottish medieval history, but also in the ones that deal with the later epochs, approaching Scott’s own time. The writer uses the central motives of the medieval romance: the identity test and the motive of initiation, the motive of an unwanted marriage and a rash promise, the image of a “damsel in distress”, makes numerous allusions to the literature about knights, enriching them with the content psychologically and historically plausible for Scott’s contemporaries. Thus Scott builds a distance between genres and epochs and makes the reader feel the gap between the past and the present.

The article represents a comparative analysis of Mikhail Lermontov’s poem “Demon” and the unrealized script for the film “Demon” by Sergei Parajanov – a completely different view of the familiar text of the poem. Possessing a unique style and taste, Parajanov introduces many new elements and plots which modernize the perception of the poem. The main distinguishing feature of the script is the personality of Tamara. Moving away from the canonical principle of building the text, where the Demon appears in the foreground, Parajanov wants to show the process of soul transformation on behalf of Tamara, while using a large number of symbols.

The article regards peculiarities of Edgar Allan Poe’s perception of the philosophical ideas and artistic creativity of Samuel Taylor Coleridge. Poe considered Coleridge the greatest poet and philosopher; however, he often engaged into controversy with him. There are some reasons to believe that some of Poe’s texts were written under the non-obvious influence of his English predecessor. Several lyrical works of two poets, as well as their critical writings, were chosen to prove this.