The article examines the transformation of folk phraseological units with the preposition “az” in the poetic language of Loiq Sherali (1941–2000). Based on the material from “Farhangi iborahoi khalqi” (Dictionary of Folk Phrases) and poetic texts from 1959–1966, a comparative analysis of colloquial phraseologisms and their possible poetic analogues was conducted. The results of quantitative analysis reveal the absence of direct lexical borrowings (0 matches in a corpus of approximately 50 pages), while demonstrating active use of the same grammatical model “az + noun” for creating original poetic images. It has been established that the folk phraseological model is not quoted but creatively reinterpreted through processes of lexical substitution, semantic inversion, and metaphorical expansion. Colloquial phraseologisms are functionally replaced by individually-authored stable poetic expressions that become markers of Loiq’s idiostyle. Basic concepts of folk phraseology (dil / heart, ob / water, daryo / river, roh / path, yod / memory) are preserved but receive philosophical-lyrical reinterpretation. The research demonstrates the mechanism of synthesizing folk linguistic intuition with the requirements of high literary style in twentieth-century Tajik poetry.

This article examines the characteristic features of A.P. Sumarokov’s rhyme. Although scholars’ interest in the poet’s literary legacy is evident, the metrical features of his works – particularly his rhymes – haven’t been thoroughly studied yet. The author of the article draws on M.L. Gasparov’s work “The Versification of Sumarokov’s Odes”, which provides precise data on the versification of selected solemn odes, and, using a number of examples, demonstrates that the scholar’s conclusions can be applied to a wider range of the poet’s works. In rather diverse texts such as adaptations of the Psalter, odes of various types, epistles, “parables” (i. e. fables), satires, eclogues, idylls, “songs and choruses”, elegies, stanzas, sonnets, epigrams, epitaphs, madrigals, riddles and other “short poems”, Sumarokov employed phonetically and graphically precise rhyme, predominantly simple; his rhyme was mostly verbal, though nominal employs as well. However the poet left no treatise in which he systematically set out his views on what rhyme ought to be: the brief remarks in the article “On Versification” are fragmentary and largely stem from his polemic with Lomonosov, rather than from a desire to create a systematic compendium of those Russian verse rules which Sumarokov considered correct.

The article deals with the literary works of V.P. Sventsitsky from 1907 to 1909: “Antichrist. Notes of a Strange Man”, “Pastor Relling”, “The Intelligentsia”. The focus is on the psychology of the hero, whose personal fate reflects the crisis of the ideology of the Russian intelligentsia, caused by the events of the First Russian Revolution (1905–1906).

This article explores the potential of sound studies as a methodological framework for the analysis of modernist literature. It examines the key intellectual foundations of sound studies in the context of media ecology, the critique of visualcentrism, and the anthropological turn in the humanities. Particular attention is devoted to the works of Marshall McLuhan, Martin Jay, Jonathan Sterne, R. Murray Schafer, Jacques Attali, and other scholars who have proposed understanding sound not merely as an object of analysis but as an autonomous mode of organizing cultural experience. The article argues that the development of auditory technologies and the transformation of perceptual practices at the turn of the nineteenth and twentieth centuries contributed to the emergence of a new model of subjectivity, which found expression in the modernist text. Furthermore, it demonstrates the applicability of sound studies as a tool of literary interpretation and illustrates its analytical potential through selected works by Thomas Mann, William Faulkner, and James Joyce.

The given article dwells on the discursive functions of lexical repetition in Tajik and English from a comparative perspective. The relevance of this study stems from the need to identify universal and specific mechanisms of text organization across languages. The aim of the study is to analyze the role of lexical repetition as a means of cohesion, expressivity, and pragmatic impact in discourse. The study utilizes methods of comparative-contrastive, functional-stylistic, and discourse analysis. The study’s material includes literary and journalistic texts in Tajik and English. The results of the study demonstrate that lexical repetition performs a number of universal functions, including ensuring text coherence, highlighting key meanings, and enhancing expressiveness. At the same time, nationally specific features are identified: in Tajik, repetition is often emotionally expressive, whereas in English, it is more structured and subject to rhetorical norms.

The given article dwells on the semantico-morphological features of the Tajik prefixoid пур- denoting physical strength and power and its functional equivalents in English. The research is grounded in the literary material of Sadriddin Aini’s novel “Ghulomon” (“Slaves”). The study identifies 5 contextual examples of пур- derivatives, classifies them according to their morphological structure and semantic fields, and provides English translational equivalents. The article concludes that пур- functions as a highly productive derivational element in Tajik, imbuing stems with intensive and qualitative nuances, whereas English relies on analytic structures, reflecting typological differences between synthetic and analytic language systems.

The given article dwells on the theoretical and practical foundations of phraseography as an independent branch of linguistics, focusing on the principles and methods of describing and explaining phraseological units. The study addresses the terminological distinction between “lexicography” and “phraseography,” justifying the necessity of adopting the latter as a specialized term to reflect the distinct nature of phraseological units as objects of lexicographic description. Through a comprehensive analysis of scholarly literature, including the works of Fozilov, Yarantsev, Kunin, and Ayupova, the article explores the structural and semantic features of phraseological units that necessitate specialized lexicographic treatment. The research employs theoretical-analytical, comparative-typological, descriptive, terminological, documentary-regulatory, and synthetic-integrative methods. Special attention is devoted to the comparative analysis of phraseographic practices across languages of different structural types – Tajik, Russian, and English – and to the identification of optimal strategies for presenting phraseological units in educational lexicographic works. The findings demonstrate that phraseography possesses distinctive characteristics separate from general lexicography, including the need for comprehensive theoretical frameworks in phraseological dictionaries, the importance of comparative-typological approaches, and the significant role of phraseography in language education and cultural preservation. The article concludes that phraseography serves not only scholarly functions but also broader societal functions, particularly in the multilingual and multicultural context of Tajikistan, contri­buting to the preservation of linguistic and cultural heritage, the promotion of linguistic diversity, and the fostering of intercultural understanding.

The given article dwells on some discussions on the level of usage and morphological peculiarities of the Tajik suffix -гоҳ/-goh in “Khamsa” by Khoju Kirmani (1280–1352), a significant monument of Tajik-Persian literature. The suffix -гоҳ, which forms nouns denoting place and time, represents one of the most productive word-formation tools in the Tajik language. Through a comprehensive analysis of the poetic text, the author identifies 124 instances of nouns formed with -гоҳ, classifying them according to semantic categories (place, time, abstract concepts) and derivational bases (nominal, verbal, adjectival).

This article is devoted to the issue of -ing forms in the English language, specifically analyzing and discussing the distinctions between the present participle, the gerund, and the verbal noun. It is noted that while the present participle, gerund, and verbal noun are morphologically identical, each category possesses distinct characteristics. The present participle primarily embodies the features of a verb, an adjective, and partially an adverb. The gerund, on the other hand, exhibits the characteristics of both a noun and a verb. Both the gerund and the verbal noun can function syntactically as the subject or the object. This further proves that these non-finite forms of the verb belong to the category of substantive words.

The article examines Francesco Petrarch’s Latin epistles addressed to Marcus Tullius Cicero (two letters), Seneca the Younger, Marcus Terentius Varro, Quinti­lian, Titus Livy, Asinius Pollio, and the poets Horace, Virgil, and Homer. The author underscored their unique status by placing them in the final, separate book of his collection “Letters on Everyday Affairs”. The article explores the context of their composition, sparked by Petrarch’s providential discovery of a Cicero manuscript in 1345 at the Chapter Library of Verona; a concise overview of these letters to the ancients is provided; notably, except for the two addressed to Cicero, they have never been translated into Russian. The influence of Petrarch’s letters on Renaissance literature is examined in light of the cultural phenomenon of the Respublica literaria.

The article examines the functioning of second-person narration in Italo Calvino’s novel “If on a Winter’s Night a Traveler” (1979). The aim of the study is to analyze the subtypes of second-person narration identified by Monika Fludernik, their realization in the text, their interaction with one another, and their influence on the construction of the reader’s experience. The analysis demonstrates that the novel employs four of the six subtypes of second-person narration distinguished by Fludernik: genera­lized “you”, reader-addressee “you”, character “you”, and observer “you”. Each subtype performs a specific narrative function; however, its significance is determined not by autonomous existence but by a complex system of interaction with the others. These subtypes do not replace one another sequentially but coexist, overlap, and intertwine throughout the text. Drawing on D. Herman’s concept of double deixis, the article shows that the second-person pronoun simultaneously addresses both the Reader-character and the implied reader. The further complication of this structure leads to the emergence of multiple deictic ambiguity and immersive second-person narration, described by A. Bell and A. Ensslin. The study concludes that second-person narration in Calvino’s novel not only constructs a new type of reader, combining immersive involvement with reflective awareness of the reading process, but also anticipates the hypertextual and ludic logic of digital culture, transforming the novel into a model of the transition from the printed book to a networked textual architecture.

The article examines the concept of «stone» in the poetics of Y.K. Baltrushaitis. «Stone» is part of the paradigm of images «stone – the path to the transcendent – the path of life». The analysis revealed the following fundamental elements of the concept’s structure: the overcoming of distance, the transcendent goal, the movement from the immanent to the transcendent, and the futility. «Stone» is also described as a topos, and the main narratives associated with it are identified. The nuclear-peripheral hierarchy of a concept depends on the motives it interacts with within a given poem. The lyrical hero is the bearer of these motives; the main motives that influence the distribution of structural elements are movement-overcoming, movement-contemplation, and desire-contemplation; they are also the cognitive features that constitute the potential of the structural element «movement from the immanent to the transcendent». The roots of the concept «stone» are found in megalithic cults and intertextual connections with the Divine Comedy.