The article deals with one of the brightest manifestations of the reception of “The Tale of Igor’s Campaign” in the prose of the 20th century. B. Lavrenev’s story “Wormwood-grass”, which appeared a hundred years ago, contains many references to the Old Russian monument, which has become a precedent text of the national culture. The story can be called a characteristic example of ornamental prose of the mid 1920s. The mythopoetics of the medieval work acts as the main means of creating an epic-romantic sound of the New Age text telling about the events of the Civil war in the south of Russia. The references to a source easily recognisable to the reader are so extensive and consistent that the narrative sometimes turns into a kind of collage of various quotations and paraphrased fragments of the pre-text. The story is unrivalled in its saturation of references to the “The Tale” in prose.

Starting from the theoretical premises of intertextuality and its mnemonic implications in relation to literature (Yu.M. Lotman, R. Lachman, D. Oraikj-Tolikj) the text aims to interpretatively illustrate those concepts through the interpretation of three poems from Macedonian poetry: Rakuvanje by Blaže Koneski, Nocno poznanstvo by Gane Todorovski and Smrtta na poetot by Vlada Urosevic, which are intertextually placed towards the life and work of Koco Racin, Macedonian author and revolutioner (1908–1943). The interpretive focus is placed on the intertextual relations and procedures in the poems, as well as their metatextual functions on a meta-lyrical level.

The article examines the functioning of comparative constructions in vario­us areas of use of the modern Russian language. It is noted that there are objects of mass culture in which comparisons are rarely used: some literary texts and some popular songs. In most cases (in fiction, song lyrics, scientific speech, the media, etc.), compara­tive constructions act as popular linguistic units that perform various functions. Comparisons serve for expression and figurativeness, help speakers convey feelings and attitudes, evaluate and joke. Their functioning in the modern Russian language illustrates its active and positive development, demonstrates the desire of speakers to build various associations using comparative constructions, the objects (images) of which help to more accurately, vividly, and expressively characterize reality.

The paper examines the issue of the emergence and composition of African languages and their decline in Uruguay. The presence of the African element in the Uruguayan demographic and cultural panorama has been recognized for a long time, but only in recent years has the attention of linguists really been drawn to the question of the African component in the linguistic history of Uruguay, as well as the problem of the African influence on the Uruguayan Spanish. This article contains a brief overview of the literature on the topic and known information about the existence of African languages on the territory of Uruguay in the 17th – early 20th centuries.

The paper deals with the idea of N.V. Gogol`s “St. Petersburg” story “Notes of a Madman”. Numerous reminiscences of images from world literature, journalism and fiction of that period are examined in detail. Long-term studiing on the poetics of Gogol’s story are summarized. The connection between “Notes of a Madman” and the poem “Dead Souls” and “Reflections on the Divine Liturgy” is established. Gogol’s polemic with European romanticism in is explored circumstantially. The article is a continuation, based on new material, of a research work begun in 2022 – “German romantic V.G. Wackenroder and the 20th century: artistic foresight N.V. Gogol” (published in the collection of the IWL RAS “Literary Process in Russia in the 18th–19th centuries. Secular and Spiritual literature”). An attempt has been made to present a holistic concept of the work and a wide range of fruitful research thoughts in its interpretation. The work consists of the fifteen sections: 1. Problems of interpretation of the story; 2. Background and history of the creation of “Notes of a Madman”; 3. “Soulful City” “Notes...”; 4. Idleness, bribery, threat of “scolding”; 5. Diktat of fashion, red tape; 6. Neglect of spiritual growth; 7. Vanity and the possibility of repentance; 8. From “Notes of a Madman” to “Dead Souls” and “Reflections on the Divine Liturgy”; 9. Pseudoculture; 10. “Donquixoticism”; 11. Cervantes and Ariosto; 12. The circle of romanticism: poetry, politics, philosophy, mysticism; 13. “Notes of a Madman” and romantic madness; 14. Poprishchin and music; 15. “Popular theology”. This publication presents the final four sections. The previous eleven were published in issue 3(65) of the magazine for 2024.

This article is meant to study the characters of Marina Tsvetaeva’s lyrical essay “The House at Old Pimen” through the prism of Carl Jung’s archetypes. Four main characters, Dmitriy Ilovaysky, Alexandra Kovrayskaya and their children, Serezha and Nadya embody the archetypes of the Wise Old Man, the Mother, the Animus and the Anima, respectively. The ambivalent nature of the first two archetypes (both their positive and negative sides) is revealed. This aspect shows the authority of the characters of Ilovaysky and Kovrayskaya over their children, which helps to shed light on the complicated relationship between the members of this part of Marina Tsvetaeva’s family.

This paper concentrates on the issue of expression of dative subject of aesthetic evaluation adverbs on the example of the adverb красиво (beautifully). Despite the seemingly close connection of aesthetic evaluation and the concept of standard, the importance of personal preferences and the subjectivity of the “sense of beauty” cannot be ignored. The corpus data shows that in Russian there is an ongoing transition to a greater emphasis on this subjectivity, which is illustrated, for example, by a gradual spread of “PRONdat + красиво” construction, where dative pronoun stands for the evaluation subject.

In recent years, young people have been spending more and more time in virtual reality, where their speech acquires various unique features. Textual computer-mediated communication (TCMC) of young people has a wide variety of features that have not been sufficiently studied to date. Due to the lack of information on the characteristics of the TCMC of young people in the Internet space, a sample observation and a linguistic survey were conducted, in which 165 representatives of Russian-speaking youth from 6 subjects of the Russian Federation took part. This study contributed to the disclosure of new previously little-studied aspects. As a result, a number of characteristic features were identified at lexical, spelling and punctuation levels. The findings can be applied to improve the effectiveness of intergenerational communication.

The article presents the creative biography of Julia Abramovna Dobrovolskaja (1917–2016), a talented and prolific translator, linguist, lexicographer, teacher and memoirist. She had been translating Italian literature since the mid-1950s, working with texts by such masters as L. Sciascia, G. Parise, G. Rodari, A. Moravia, P.P. Pasolini and others. She’s the author of the classic “Practical Italian Course” (in Russian; 1964). Her philological activity Yu.A. Dobrovolskaya continued in Milan (since 1982) as a Russian specialist - the author of textbooks and dictionaries for Italians, as well as translations of Russian literature.

The article deals with the presentation of the book “Emblematics: Microcosm” by A.(E.) Makhov, published at the beginning of 2024, on which the scientist worked until the last day of his life. This is the second part of dilogy dedicated to the emblem genre, popular in Europe in the 16th–18th centuries. The first book – “Emblematics: Macrocosm” – was published 10 years ago: in 2014. The online-meeting took place on March 30, 2024. Famous philologists, historians, fine art experts took part in the event.

The article describes the way of foundation and development of A.A. Gugnin’s scientific school. A.A. Gugnin was the professor of Euphrosyne Polotskaya State University of Polotsk and had been working in Lomonosov Moscow State University for many years. It is mentioned that a great role in the formation of the historical-contextual method was played by A.A. Gugnin’s defence of his PhD thesis (1976) and then his Doctor’s thesis (1998). Special attention is paid to A.A. Gugnin’s scientific activity in Polotsk after his moving from Russia in 1999. This period is associated with the opening of the Department of World Literature and Culturology, postgraduate and master’s programmes. At the Euphrosyne Polotskaya State University of Polotsk the historical-contextual method continues to develop due to international scientific conferences and the studies of Professor A.A. Gugnin’s followers.