The article discusses the chronicle of the poetic group of biocosmists (1920–1923), claiming to be the movement of anarchism, and their theoretical program. A.F. Agienko (A. Svyatogor), who headed the Moscow group of biocosmists, acted as the leader and ideologist of the movement. The northern group of biocosmists-immortalists in Petrograd was headed by A.B. Yaroslavsky. Poets put forward radical ideas of personal immortality, traveling into space and the resurrection of the dead, along with the theses on verbal creativity. The analysis of their program texts is presented in the context of the avant-garde paradigm and philosophy of Russian cosmism, in particular the “Philosophy of the Common Cause” of N. F. Fedorov.

Interrogative pronouns kaj (what) and kdo (who) are rather peculiar within the range of Slavic languages. In principle, the Slovenian pronoun kaj corresponds to the Russian pronoun čto and the Slovenian pronoun kdo to the Russian pronoun kto. The form kaj of the first pronoun is also known to the Croatian Kajkavian and Buzet dialects as opposed to the form ča in the Croatian Chakavian dialect and čo in the Slovak language, while the form kdo of the second pronoun also belongs to both the Croatian Kajkavian dialect and the Czech language. The above-mentioned peculiarities are connected with a complicated development of Proto-Slavic pronouns čь and kъ. The form kaj otherways reminds of the particle -kaj optionally hanged to the place adverb semkaj after imperative vleci what is comparable to the Russian imperative construction duj-ka… sjuda.

The article explores the works of several Czech Slavicists of Ostrava University (Czech Republic) on Russian-Polish literatury contacts in particular, two recently-published monographs. Both books are distinctive for their original comparative approaches. The monograph of 2015 explores Polish and Russian song-poetry, while the book of 2017 studies the literary essays of Russian and Polish Symbolism. Through wide range of materials, the first monograph describes and analyzes contemporary Russian and Polish song-poetry, showing parallels with Czech and Slovak song-poetry as well. This work is as original in its theoretical approach, as it is unique for covering a great gap in the academic studies. It examines wide range of issues, including the distinctive features of texts and the musical basis of song-poetry, the genesis and variation of genres, the individual manner of performing, et al. The other collective monograph represents the evolution of Russian and Polish symbolism as coherent and integral conceptual vector, describing its ascent from decadence to theurgy.

The article analyses the translation of Luxemburgish-marked lexemes – names of geographical objects, historical events, state-institutions, fêtes, traditions and well-known persons.

An exhibition of contemporary artist Pavel Otdelnov is described and analyzed in the article. It’s dedicated to an industrial zone in the city of Dzerzhinsk. Features of Otdelnov’s artistic language, basic ways of expression, as well as the artist’s technique specifics are examined. The ideas of all sections of the exhibition are revealed and every interconnection between them is traced. Attention is paid to the analysis of informative basics of the art objects, combined with aesthetics of the author’s vision. In the end, a conclusion is made about a degree of disclosure of the “Industrial zone” theme in terms of accessibility, visual expression and meaning completeness.

The second part of the study is devoted to the history of the relationship of Nikolai Gogol and his spiritual father, Rzhevsky archpriest Matthew Konstantinovsky. The events of the writer’s deathbed days (death of E.M. Khomyakova, Pancake week, last meeting with Father Matthew) were reconstructed. The article explains the Church Slavonic semantics of the word “requirement” on the margin of Gogol’s Bible opposite to Saint Apostle Paul’s words “...having a desire to depart, and to be with Christ” (Phil. 1, 23).

The search for three righteous judges is one of the plot-forming motives in the “Mail of the Spirits” by Ivan Krylov. It goes back to the biblical – as well as the common European literary and folklore topos – “the city falls without the righteous”, which is transformed in a satirical mode by means of adynata.

The article deals with the features of Ivan Krylovʼs translation of the fable “Petukh i Zhemchuzhnoe Zerno” in comparison with translations of the same fable by other authors.

The article discusses the marginal glossaries of the New Testament as part of the Moscow Bible in 1663. Comparing the MB glosses with the readings of the main text of the MB and the Ostrog Bible, the Gennadiy Bible, the Talks of John Chrysostom, the Epiphanius Slavinetsky’s New Testament, readings of previous editions, Greek and Latin texts, the author tries to identify the possible sources used in the work on the MB, to identify the continuity of grammatical thought, which was reflected in the right of the Moscow scribes and the result of this right – the 1663 Moscow Bible. In the main text, the editor focuses more on traditional readings that coincide with the readings of the Ostrog Bible and the Gennady Bible. And in the marginals gives his version of the translation. A comparison of the glossary with other editors shows that during working on the MB, the editor used various sources. Subsequently, these glossaries will be transferred by Epiphanius Slavinetsky to the main text of his New Testament.

This article shows how the original text of the 17th century cosmography (known as “Blaeu’s Cosmography”, also known as “The Grand Atlas”) corresponds with its Old Slavonic translation made by Epifany Slavinetsky in Moscow. It is shown that Slavinetsky doesn’t follow the original precisely, but introduces a certain correspondence between Latin and Old Slavonic grammatical structures. We also believe that this translation is an example of “scholar” language register.

The article presents comparative analysis of the syntactic features of the original (“The Lay of Igor’s Warfare”) and translated (poetic exposition of the “The Lay of Igor’s Warfare” by A. Maikov) texts. As the observations on the grammatical structure of the translation of the mid-nineteenth century showed, the experience of A. Maikov reveals the growth (in comparison with the Old Russian monument) of the quantitative and qualitative diversity of the complicating structures (isolations, parenthesis), strengthening the role of the one-member infinitive sentences. In the Maykovʼs translation one can observe the frequent division of one initial sentence into two syntactic constructions. Replacing the type of the syntactic connection in the complex sentences is caused not only by the sequence of the rhythm-metrical scheme of trochee, but also by the poet-translator’s intention for the historical stylization of the text, for the elimination of the asyndeton by introducing the work which is more characteristic to the ancient book syntax (despite the unusually high percentage of asyndeton in “The Lay of Igor’s Warfare”) and for clarification of the semantic relations within the sentence. The poetic transposition of A. Maikov is distinguished by huge specific weight of hypo-taxiс relations in the syntactic system of the text in comparison with the translations of V. Zhukovsky and N. Zabolotsky.

The article contains the etymological analysis of street names of the mo­dern regions of Moscow and London and necessary classifications with percentage are elaborated. On this basis the research concludes that there are different sets of values in the given two cultures.

The article deals with the embodiment of the dualism phenomenon in the Dostoevskyʼs novel “Poor People”, where the bifurcation of the protagonist charac­ter is manifested in the change of his mood even during the writing of one and the same letter. A graphic scheme proposed that presented in the text reflects the drops in the emotional state of the hero.

One of the most famous and influential literary critics of emigration was Georgy Adamovich. On the pages of such publications as, for example: “Chisla”, “Zveno”, “Sovremennye Zapiski”, “Novy Korabl” Adamovich acted with traditional genres for criticism: reviews, problem articles, literary portraits. However, writing on literature he goes beyond the boundaries of the original topic. In 1967, selected articles were published under one cover. “Commentaries” on both formal and substantive grounds hold a special position. The opinion about the unconditional belonging this book to the journalistic field of literature is convincing.

The article substantiates the need for creation of the educational electronic dictionary of author neologisms of the Golden age classics of Russian literature and describes its macrostructure and microstructure. The author gives a list of great writers who made a significant contribution to the Russian 19th century word creation, and gives a General description of the dictionary created. The article discusses in detail the ways of presenting in dictionary entries of various types of information about the word in dictionary entries: orthoepic, grammatical, semantic, word-formation, cultural, bibliographic, illustrative and others. The author pays special attention to one of the important sections of the dictionary article – the use of neologism by other authors, as this characteristic shows how much the word was in demand by native speakers of the Russian language. In conclusion, we give examples of two dictionary entries.

The article analyzes the lexical means of creating the image of Saint Mary in the Polish literature of different times (15th–20th centuries). The features noted in particular works are compared to each other, also the most frequent literary devices are specified, and statistics are presented. On the basis of the analysis we conclude that the image develops and becomes more complex; that the religious tradition influences the works of art. There are also traditional formulas and borrowings of the stable definitions of Saint Mary from prayer texts.

This article deals with the analysis of the author’s translation of the novel “Camera Obscura”. The article also studies the peculiarities of the Russian text of the novel and Russian translation of the novel “Laughter in the Dark”. Particular attention is paid to lexical derivatives of the two texts and their relations.