The given article dwells on issues beset with grounds of the formation of theory and practice of modern Tajik lexicography and the state of its research. Proceeding from the assumption the conducted analysis dealing with the theme explored, the author of the article comes to the conclusion that acquaintance with the grounds of the formation of theory and practice of modern Tajik lexicography and the state of its research showed that most of them are aimed to the consideration of lexicographical peculiarities, the volume of entries, poetic evidences, the classification of words deno­ting things, people, toponyms and prominent figures and their classification into parts of speech, etymological elements, spelling etc.

The article dwells on issues concerning the development and evolution of the history of Tajik lexicography in the Middle Ages. It is underscored that scholar in linguistic studies’ attention in the field of lexicography is always attracted by such works from different aspects, because, first of all, dictionary and knowledge covers the real lexical environment of the era of their creation, second of all, dictionary and knowledge clearly reflect their authors’ linguistic opinions expressing new and unique ideas in vocabulary items commentary and interpretation.

The article develops the basic ideas set out in the first publication on this topic in the “Stephanos” magazine (issue 3 for 2024). The existence of numerous reinterpretations of Dostoevsky’s works created in world culture – in literary criticism, cinema, animation, comics, etc., cannot but determine the need to develop principles of their classification. For this purpose, the concept of “interpretative constant” is introduced, i.e. an idea, thought, direction of research, evaluative judgment, etc. regarding the perception of Dostoevsky’s work put it in a condensed form. For example, based on the material of foreign cinema and theatrical productions, which the article is devoted to, we can deduce such interpretative constants as Dostoevsky created the universal image of a criminal; Dostoevsky is the author of detective novels; Dostoevsky is a fighter for justice, social equality; Loved death and suffering more than life; Without Dostoevsky it is impossible to understand Russia and the Russian character, etc. Compiling a list of such interpretative constants and their thematic classification allows us to identify the peculiarities of the perception of Dostoevsky and his creative works in foreign cultural space. The next article in the series will be aimed at identifying the interpretative constants in the works of foreign researches of Dostoevsky.

The article (part 1, Sicily) examines the artistic preferences of Emperor Nicholas I and his family to modern Italian painting carried up throughout Sicily (1845). There are many publications on the Romanovs’ stay in Palermo during family vacation, but almost nothing is said about the tsar’s collection of paintings, acquisitions and orders, however new archival documents on the subject were recently discovered. The main result of Nicholas I’s Sicilian trip was the replenishment of the funds of the Imperial Hermitage with works by such artists as the domestic M. and S. Vorobyov and P. Orlov, as well as Verflute, Gurlit, Duclair, Katel. The efforts of these masters helped not only to capture the royal impressions of the nature of Sicily, but also led to a significant strengthening of the position of the Neapolitan school of painting (with its Sicilian theme) in Russia, previously quite weak. Some of the works have survived to our time and are exhibited in the Hermitage and other museums; others have yet to be studied.

The article dwells on the analysis of the reflection of the problems of phonetics, spelling and orthoepy in particular, in Sirojiddin Alikhon Orzu’s “Charoghi hidoyat” – the lexicographic production of the first half of the 18th centuny. Proceeding from the studied contents of “Charoghi hidoyat” phraseological dictionary, the author of the article comes to the conclusion that Orzu introduced some new notions into the stock of grammatical and phonetical terms of his time. He also asserts and confirms his assertions with documents running to the effect that Orzu was the first lexicographer who contributed orthoepic description of separate cerebral sounds of the Indian language into his dictionary.

The article dwells on Kamol Khujandi’s poetry in Persian-Latin etymological dictionary belonging to the pen of the famous German orientalist Johann August Vullers. Vullers is considered to be one of the outstanding orientalists, whose “Persian-Latin Etymological Dictionary” is very famous. The dictionary consists of 2500 lexical entries cited excerpts from the works of many poets. Among them, the dictionary cites 16 bayts from Kamol Khujandi’s poetry. As well as, the article highlights the dictionary the fact that there are two bayts that do not belong to Kamol Khujandi, which further complicates the problem of textual analysis of the poet’s work.

The article analyzes the significance and priority of “Lughati Furs” by Asadi Tusi published in Tajikistan, which was proofread by lexicographer Nurullo Ghiyasov. At the beginning, the content of the preface is considered, and then the corrected text of the dictionary, notes and comments of the proofreader are directly analyzed, and at the end, it is noted that all the achievements of this edition have scientific value in the field of textology, lexicography and historical literature.

The article dwells on the borrowed words in the dictionary entitled as “Burhoni kote’” and establishes that the dictionary explains borrowed Arabic, Indian, Turkic, Roman, Greek, Syrian, Chinese, Berber, Armenian, Jewish and European words referred to by Muhammadhusayn Burhon as lexical entries. As well as, the author of the article examines the factors of penetration of borrowed words, which is one of the distinctive peculiarities of the dictionary under consideration.

The main aim of the article is to investigate the extent to which the meaning and the use of a word, or its semantics, is determined by its etymology in Old English poetry and legal documents. Five lexical items have been selected for analysis, which are commonly used in both types of texts – the designations of a ruler or a noble person, such as cyning, dryhten, hlāford, ealdor(mon) and þegn. For each word, its etymology and etymological meaning (the nomination model) are established. Then, through contextual analysis, the role of etymological meaning in the functioning of the word in the text is explored. Special attention is given to the modes in which etymological meaning is expressed. In conclusion, some deductions are drawn about the interrelation between etymology and semasiology, the degree of their interaction in Old English poetry and legal documents, and the causes of the disparity between these degrees in the two types of texts.

The article describes the role of the perceptual dialectology approach utilized in this study. The relevance and importance of this approach in the study of linguistic varieties is emphasized. The article gives a brief overview of the viewpoints of scientists and researchers regarding the idiom of the Mexican-American borderland. The complexity and insufficient knowledge of this linguistic phenomenon is highlighted. The article provides a complex analysis of dialect stereotypes about the idiom of the Mexican-American borderland based on the material from online discourse, written Internet texts, and English film discourse. The obtained data allows the author to identify the most common stereotypes about the idiom in the fields of online discourse and written Internet texts. Further, the author carries out a comparative analysis of these stereotypical phenomena in the two samples. The article also investigates an explication of the identified stereotypes in modern English film discourse based on the linguistic portrait of the heroine of the movie “Spanglish.”

This article is devoted to the representation of the posthuman in Mary E. Pearson’s novel The Adoration of Jenna Fox through the lens of conceptual metaphors. Drawing on the conceptual metaphor theory developed by George Lakoff and Mark Johnson, it analyses how metaphors are used to reveal and develop the image of the protagonist from whose point of view the novel is written. The article shows that conceptual metaphors help to reveal human traits in the narrative subject’s thinking and thus raises anew the question of what it means to be human. The article is of interest to those engaged in research on contemporary young adult literature, in particular the genre of science fiction and dystopia, as well as the functioning of metaphor in language and especially in works of fiction.

The article is devoted to studying the specifics of emotional components in A. Camus’ novel “L’Étranger” (1942) and its Russian translations by G.V. Adamovich (1966), N. Gal (1968) and N.I. Nemchinova (1969). The analysis is based on a classification of different aspects of emotional state (such as direction of emotions, their active or passive nature, duration etc.). The comparative analysis of the chosen fragments of these parallel texts, which contain emotional components, allows following the dynamics of development of novel’s emotional plan in the original and in Russian translations. As a result of the study were determined the following particularities of translating the emotional components: use of means of intensification and attenuation on both lexical and syntactic levels, amplifications, omissions, transitions from one category of feelings to another, as well as personalization and depersonalization of emotional components. In addition, the analysis allows to present some peculiarities of each translator’s idiostyle.

The aim of this article is to identify the lingvo-pragmatic characteristics of anthroponyms in the titles of modern German-language novels. The existence of modern literature of the Federal Republic of Germany in the conditions of the book market, media advertising, literary agency of intermediaries, competition of publishers dictates to the authors certain principles for the nomination of their works, which allows us to consider the title not only within the framework of artistic discourse, but also the naming discourse interfering with it. It is the title, being the name of the artistic text, that is especially significant from the point of view of attracting a readership. The titles of the novels are printed on posters for the presentation of a new work, in advertisements for meetings with authors and book fairs. The use of novelists in the titles of artistic texts allows you to set the reader certain plot expectations and indicate the characteristic features of the protagonist.

The article dwells on the study and consideration of one lexicographer’s linguistic thoughts. It is noted that Nurullo Ghiyasov made a great contribution into the study, development of composition of Tajik lexicography historico-theoretically, and also, he revealed the issues beset theoretico-applied Persian-Tajik Lexicography. In addition, Nurullo Ghiyasov edited and prepared “Lughati Furs” by Asadi Tusi (Khujand, 2015) and “Some Words that Men-of-Letters Should Say” by Abulfazli Baihaqi (Khujand, 2024) and contributed into the editorship of several literary and lexicographcial productions.

The article deals with the reports on the scientific conference of the Department of the History of Foreign Literature “In Memory of G.K. Kosikov: on the 80th Anniversary», held for the 270th jubilee of Moscow University at the Philological Faculty on June 19–20, 2024.