The article develops the basic ideas discussed in the series of works devoted to the issue of perception of Dostoevsky’s work by foreign speakers (the first two articles were published in the “Stephanos” magazine in 2024). In it, the interpretive constants – the ideas, thoughts, research directions, value judgments, etc. regarding the reception of Dostoevsky’s works set forth in a concise form – are derived from the material of works of foreign (European, American, Japanese and Chinese) science studying the creativity of Dostoevsky. Such constants include, for example, the following: ‘The works of Dostoevsky are the result of his despair’; ‘The motive for suicide permeates all of Dostoevsky’s works and life’; ‘Too difficult for the bearer of a different culture to understand’; ‘All the heroes of Dostoevsky, like himself, sick people’, etc. The next, final article of the cycle will be aimed mainly at classifying the interpretive constants identified during the analy­sis of numerous reactions and expressions of appreciation of ordinary foreign readers of Dostoevsky.

The article presents a comparative linguistic and stylistic analysis of the rubaiyat of Omar Khayyam (11–12 centuries) and the poetry of Loiq Sherali (1941–2000) in the context of poetic continuity and intertextual dialogue. Drawing on the material of Loiq’s “Kulliyot” (Dushanbe, 2008) and the original Persian texts of Khayyam, the study identifies and describes the mechanism of “linguistic diffusion” – a specific technique whereby the archaic syntax and stable formulaic constructions of the classical Persian-Tajik tradition are preserved as a structural framework, yet are consistently filled with fundamentally different – social, national, and vernacular – content. It is demonstrated that Loiq Sherali deliberately reorients the Khayyamic metaphor from the vertical axis (Man – God – Fate) to the horizontal (Man – People – Mother – Earth), democratizes the lexicon and syntax of aruz, and systematically introduces dialectalisms and colloquial elements (omoch, kunj-i sandali, noni halol) into the space of high poetry – elements that had previously held no poetic status. Analysis of the lexical stratigraphy of the texts reveals a fundamental divergence between the two poetic systems: whereas Khayyam’s Arabic philosophical terminology creates a hermetic space of learned discourse, Loiq’s colloquial and dialectal layer becomes an instrument for democratizing the national poetic tradition. The study of the metaphorical systems demonstrates that the same lexical units (zarra, khok, non) undergo a radical shift in semantic vector: in Khayyam they mark the existential insignificance of man before the Cosmos, while in Loiq they signify fertility, popular strength, and national identity. A contrastive analysis of syntactic formulas (the lament over youth, the formula of departure, the address to the grave) reveals a consistent pattern of linguistic diffusion: the Khayyamic form is preserved while the content is recoded. The conclusion is drawn that the language of Loiq Sherali emerges as the “voice of the nation” precisely through its reliance on the Khayyamic code rather than in opposition to it: the classical form provides authority and weight, while the vernacular lexicon ensures openness and universal accessibility.

The given article dwells on the main linguistic and stylistic difficulties arising in the translation of Arabic Maqamat of Badi Zaman al-Hamadhani into English. Special attention is paid to the transmission of culture-specific elements, as well as the challenges of preserving the form and meaning of the original text. Translation techniques and strategies used to solve emerging problems are examined. Based on the comparison of the original text and its translation, the most challenging aspects are identified and recommendations for improving the quality of translations in this genre are provided.

The given article dwells on the morphological peculiarities of compound words formed with the suffixoid -хона (“room, house, chamber”) in Sadriddin Aini’s novel Ghulomon (“Slaves”) and their functional equivalents in English. Based on a qualitative descriptive-comparative analysis of 20 selected examples extracted from the novel, the study identifies five morphological‑semantic categories of -хона compounds: animal shelters, social / communal spaces, storage / utility spaces, institutional / abstract spaces, and architectural metaphors. The findings reveal that while Tajik employs a systematic and highly productive general‑purpose spatial compounding strategy using the single template X + хона, English requires five distinct translational strategies, including literal equivalence, functional equivalence, metonymic shift, descriptive paraphrase, and cultural borrowing. The English suffixoid “-room” proves far less productive and cannot adequately render the semantic range of Tajik -хона. Beyond purely morphological description, Aini’s use of these compounds serves literary functions of authenticity, social stratification, and euphemistic irony. The study contributes to lexical typology by contrasting a language with a general‑purpose spatial compounding strategy (Tajik) with one that lacks it (English).

The article deals with the distribution of monosyllabic and two-syllabic endings of Instrumental singular case in the prose works of three authors who are significant for characterizing the norm of the literary language of the late 18th – early 19th centuries: N.M. Karamzin, A.S. Shishkov, I.A. Krylov. It is found that, despite the genre differences of the studied texts and the fundamentally different theoretical attitudes of their authors towards the norms of literary language, in the use of two-syllabic vs monosyllabic endings in the Instrumental case their norm is basically the same: two-syllabic endings significantly predominate in all positions, with a sporadic penetration of monosyllabic (colloquial) variants without their special distribution. The monosyllabic ending of 3rd declension nouns -ью is encountered somewhat more often than the ending -ой(-ей), and in some positions in Shishkov’s prose such forms are even more common than in Karamzin’s. The special distribution of monosyllabic and two-syllabic endings of the Instrumental singular case will subsequently be received only in Pushkin’s fiction.

The article examines non-fiction as a significant part of the contemporary literature. The specifics of the use of the term, the place and role of this type of literature in Russian literature of the 21st century are shown. The reasons for the active development of non-fiction are analyzed, and their close connection with the “perestroika” of the 1990s is set down. The material for the study is non-fiction works awarded the National Literary Prize Big Book which are marking out as a specific part of contemporary Russian prose. An analysis of the works in this group makes it possible to establish the relationship between fiction and non-fiction of various themes and genres in this group; and to show how this relationship is changing in the first quarter of the 21st century. The article identifies the dominant type of non-fiction work in the group under consideration – the biography of the writer. A comparison was made of all the books in writers’ biographies genre awarded the Big Book Prize. The specific content is analyzed in relation to the unique personality and fate of the central character. The article presents writers’ biographies as a specific literary and, more broadly, historical-cultural pheno­menon. Other works awarded the Big Book Prize were also examined. The charac­teristic features of the content and poetics have been identified and systematized. A reasonable assumption has been made that the role and place of non-fiction literature will increase in the coming years.

The given article dwells on the issue beset with sentence structure and its peculiarities in English. It is noted that a sentence is formed on the basis of the semantic and syntactic integration of two related members: the subject and the predicate. These two components are considered the basis of the construction of a sentence, and in grammar they are called the predicative group. These two members of the sentence represent the syntactic category of predicativity. Predicativity consists of three elements, which express the relationship of the content of speech to person, tense, and modality. These three elements of predicativity together ensure the existence of a sentence.

The given article dwells on the semantico-morphological features of the Tajik prefixoid пур- denoting physical properties and its functional equivalents in English. The research is grounded in the literary material of Sadriddin Aini’s novel “Ghulomon” (“Slaves”). The study identifies 15 contextual examples of пур- derivatives, classifies them according to their morphological structure and semantic fields (e. g., physical proper­ties, emotional states, quantitative characteristics), and provides English translational equivalents. A comparative analysis reveals that while English lacks a direct morphological prefixoid equivalent, it employs a range of syntactic and lexical means – primarily the adjective “full of,” compound adjectives, and contextual paraphrases – to convey similar meanings. 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 article is devoted to the analysis of the life and work of Georgy Konstantinovich Sorgonin (Rozvadovsky) (1904–1976), a poet, playwriter, publicist, and translator, whose name is among the undeservedly forgotten figures of the Russian emigration of the interwar period. The main focus is on Sorgonin’s grows as a poet far from his homeland. The motives of Sorgonin’s pre-war lyric poetry, typical of émigré poetry, are analyzed: nostalgia for a lost Russia, the search for spiritual harmony, and the opposition of chaos to the eternal values of love and beauty. Particular attention is paid to his literary connections (the influence of N. Gumilev, acquaintance with K. Balmont and I. Severyanin), as well as critical assessments of his work by his contemporaries.

This article examines a key issue in neology – the discrepancy between the dictionary (lexical) meaning of new words and their psycholinguistic (perceived) mea­ning. The study presents the results of an associative experiment conducted with native speakers of Russian, Swedish, and English. Three neologisms were analyzed: ‘абьюзер’ (‘abuser’), ‘antivaxxare’ (‘anti-vaxxer’), and ‘toxic masculinity’. The paper compares the dictionary definitions of these terms with their psycholinguistic meanings identified through the associative experiment (2024). In all three cases, the psycholinguistic meaning proved to be significantly broader than that recorded in dictionaries. The analysis demonstrates that the examined neologisms are actively used in the respective languages; however, their lexicographic descriptions contain inaccuracies, indicating the need for refinement and expansion in the dictionary representation of emerging lexical items.

The article examines the poetics and themes of Egana Jabbarova’s novel The Hands of the Women in My Family Were Not Meant for Writing (2024) in the context of such phenomena as “women’s prose” and “poet’s prose”. The aim of the work is to identify the artistic originality of the book, determined by the synthesis of autofictional narrative, poetic imagery, and feminist optics. The analysis explores the category of corporeality, which is central to the work: the body is interpreted by the author as a physical object, a metaphysical entity, and a carrier of generational memory opposing patriarchal tradition. Special attention is paid to the non-linear composition, built on the principle of apparent fragmentation (each chapter is devoted to a part of the body), and the rhythmic organization of the text, including anaphoric constructions and leitmotivic “rhymes”. The connection between Jabbarova’s prose and the traditions of synthetic prose by A. Bely and M. Tsvetaeva is substantiated, and the interaction of verbal and auditory planes (language as a sign system and as an organ) is considered. The study concludes that the novel represents a complex mega-mythical canvas, where a macrocosm of female destiny – free from national and patriarchal prohibitions – is constructed through somatic experience.

The aim of the study is to determine how mythopoetic mechanisms shape the architectonics of Sukhbat Aflatuni’s “Tashkent Novel” and organize the plot of an identity crisis. The methodological framework combines mythopoetic analysis (E.M. Meletinsky) with a mythological interpretation of the motifs of the sacred / profane and initiation (M. Eliade), which makes it possible to describe the novel as a system of stable plot-and-imagery scenarios and threshold episodes. The archetypal analysis relies on C.G. Jung’s concept of the archetype (with a cultural-historical adjustment proposed by S.S. Averintsev) and is correlated with A.N. Veselovsky’s notion of “proto-images” / formulas in historical poetics, thus capturing the transformation of archetypes within a concrete artistic context. The chronotopic approach (M.M. Bakhtin) and the concept of cultural memory (J. Assmann) are used to reconstruct the text’s spatio-temporal organization and the mechanisms of narrative reproduction of the past, since meaning-making in the novel is determined by the nexus “space – memory – identity”. The mythopoetic level of the Tashkent Novel performs a structuring function: the text’s architectonics is organized by a system of archetypal models and recurring motifs, where the Mother archetype establishes the subject’s initial dependence, and the descent into the basement functions as an initiatory threshold that models identity transformation. Within the chronotope of return, Tashkent is constructed as a space of assembling cultural memory, linking individual recollection, family myth, and Soviet everyday life into a unified semantic structure.

The article analyses E. Bulwer-Lytton’s short story “The Haunted and the Haunters; or, The House and the Brain” (1859) and its connection to the key philosophical movements of Victorian age, such as spiritualism, positivism and empiricism. Adopting the formal features of Gothic fiction and retaining the elements of horror and mystery, the author reinterprets the Gothic tradition completely, using established literary conventions to express the philosophical tendencies of his era.