The article examines the earliest translation of Shahnameh by Firdawsi into Arabic. Using the translation of Firdawsi’s masterpiece as an example, the author discusses the specific features of translating Persian compositions into Arabic. The translation was produced by Fath ibn Ali Bundori Isfahani from an ancient manuscript of Firdawsi’s Shahnameh and has survived to the present day. The translator adopted the method of free translation and abridged approximately one-third of Firdawsi’s verses, while translating the remaining two-thirds into Arabic. The work was rendered into Ara­bic in a simple, straightforward, fluent, and accessible style. Bundori mainly abridged the introductory, rhetorical, and panegyric passages of Firdawsi’s work and presented the basic plot of the poems to readers in a more simplified form. The Arabic translations of Shahnameh, particularly Bundori’s translation, testify to the interest of Arabs and Arabic-speaking readers in the Persian-Tajik national epic. The author argues that Bundori’s work fully satisfied the needs of Arabic-speaking readers who wished to become acquainted with Firdawsi’s epic poem.

The article examines the source of the poetic work “Nowoznalezione rze­czy”, written by Simeon Polockij in Polish, presumably during the “Belarusian period” of his creative activity. The study reveals that the poetic text by the 17th-century poet, published in the editions “Virshi” (Minsk, 1990) and “Carmina Varia” (St. Petersburg, 2014) under the title “Nowoznalezione rzeczy” (“New Discoveries”), was not based on the book “Inventores rerum, albo Krótkie opisanie, kto co wynalazł y do używania ludziom podał” (Vilna, 1608) by Jan Protasowicz. In fact, it consists of four epigram cycles written for four series of engravings from the collection “Speculum diversarum imaginum speculativarum” (Antwerp, 1638), published by J. Galle. Furthermore, the author suggests that the engravings from this 1638 Antwerp collection also served as sources for other Polish-language poetic works by Simeon Polockij.

The article discusses the structure pecularities of E. Katishonok’s novel “The Return” (2025), which can be viewed as a special form of intertext within her other works; it serves as a site of authorial reflection on the ideas and images that define the laws governing the fictional world created in her premature works. An analysis of the novel’s narrative structure demonstrates how the author’s point of view unfolds within the text and how the motif of return – a recurring theme in the Katishonok`s prose – is reinterpreted.

The article dwells on the semantico-morphological peculiarities of the Tajik prefixoid пур- in the novel “Ghulomon” by Sadriddin Aini and its English equivalents. The prefixoid пур- originates from the independent lexeme пур ‘full’ and functions as a productive semi-affix forming compound adjectives, participles, and occasionally verbal phrases. Although the prefixoid is traditionally associated with the meaning ‘full of, filled with’, in literary discourse it acquires expressive, evaluative, and emotional-psychological functions. Eight illustrative examples from “Ghulomon” are analysed in depth, including пурҳаяҷон, пурҷав, пурҷурғот, пурпалав, пурпахта, пуробшуда, пуроб, and пуроб in the river context. The comparative analysis shows that English equivalents are represented by constructions such as full of excitement, exciting, agitated, tense, barley-filled, coarse-grain-filled, pilaf-filled, cotton-filled, tear-filled, water-filled, watery, and brimful. The study reveals that Tajik пур- is a bound, prepositive, highly productive prefixoid, whereas English tends to use analytic phrases, compound adjectives with -filled, participial constructions, or lexicalized adjectives. The emotional and psychological load of пур- is direct in formations with abstract nouns and indirect in formations with concrete nouns, where it creates imagery, intensification, and expressive evaluation. The results are relevant for Tajik word formation, lexicography, translation studies, and comparative linguistics.

This article examines the evolution of the avant-garde in Russian literature, tracing its history from the radical rebellion against classical traditions in the early 20th century to its contemporary manifestations. The avant-garde style is defined by a commitment to innovation and the deliberate dismantling of established canons. While the historical avant-garde expressed this through asymmetry, contrasting colors, and unconventional materials, contemporary literature does so through experiments with form, structure, and language. The study focuses on the neo-avant-garde and its defi­ning characteristics: fragmentation, non-linearity, the blending of styles, and wordplay. The specific nature of the avant-garde style is illustrated through works by A. Salnikov, A. Polyarny, E. Vodolazkin, D. Avaliani, V. Melnikov, A. Tsvetkov, P. Pepperstein, and others. Particular attention is paid to synthetic trends – such as the fusion of literature with visual art, digital code, and interactive formats – as well as the issue of authorship in the age of AI. The article concludes that the avant-garde tradition, rooted in Futurism, has not been broken but rather transformed, reflecting shifts in the language and consciousness of the era. At the same time, its fundamental principles – provocation, the deconstruction of authority, and the search for radically new modes of expression – remain intact.

The article presents a prepared for publication by Dmitry Sechin Publishing House three-volume collection of works by the émigré wri­ter – Vera Sergeevna Naval (1883–1944?), who was actively published by Riga and Harbin publishing houses from 1928 to 1938. Her books have never been published in Russia, and her work has not been the subject of philologi­cal study. The poetics of Naval’s works is considered: her writing is oriented toward the Romantic canon and, in terms of genre, is saturated with adventure elements. The musicality of her prose is noted, a parallel is drawn between Naval’s novels and operatic art, on which she relied to a considerable degree: her books are permeated with operatic allusions; her characters compare themselves to stage personages and aspire to associate reality with a musical space. Parallels are also traced with the traditions of Russian prose (Pushkin, Turgenev, Dostoevsky). An examination of the entire corpus of Naval’s texts reveals a unity of themes, motifs, and aesthetic aspirations in her work, in particular a conscious disregard for modernist experimentation and a fundamental “old-fashionedness” of aesthetic principles.

This article examines stylistic figures with the meaning of opposition in the works of M.Yu. Lermontov. The relevance of the study is determined by the need for a systematic description of these figures and by the role of contrast in Lermontov’s artistic thinking. The purpose of the article is to identify and describe stylistic figures with the meaning of opposition, to determine their semantic and stylistic functions, and to show how they reflect the poet’s worldview and artistic method. The research employs the methods of continuous sampling, descriptive, semantic-stylistic, contextual, structu­ral-semantic, and comparative analysis. The main results consist in the analysis of such figures as neutralization of opposites, connection, contradiction, separation, alternation, sequence, change, and comparison. It is shown that these figures are conditioned by the semantic nature of antonyms and by Lermontov’s antinomic worldview. The discussion emphasizes that contrast in Lermontov’s works is not limited to antithesis but represents a systemic principle manifesting itself at the lexical, syntactic, compositional, and philo­sophical levels. The practical significance lies in the possibility of using the results in courses on stylistics, literary criticism, and text analysis. The conclusion states that the stylistic use of antonyms in various figures of speech represents one of the levels of the system of contrast in Lermontov’s creative work, embodying his principle of contrast.

The article analyzes and discusses the peculiarities of the use of the art of talmeh in Soib’s ghazals. The author comes to the conclusion that one of the most important aspects of the art of storytelling is the recognition of the ugly and the beautiful, successes and failures, their causes and consequences through the narration of the stories of the prophets. The poet considers historical events and incidents as a testing ground for human understanding and intelligence, passing on the most valuable experience of the past to the new generation, and for this reason it plays a very constructive and effective role in educating people. In this article, the features of the art of art are described, dividing it into groups and depending on the purpose of the poet and the mastery of the poet in the use of this artistic art, and the author comes to a deep conclusion.

Gogol believed that painting could depict phenomena from another world. Iconic scenes are often presented by him as a picture: the first proposal to sell dead souls, Andriy’s betrayal, the ending of “The Inspector General”. The images in painting contrast with the traditional schemes of semiotic space. The portrait of Grandfather Ostrich in “Hetman” is juxtaposed with the image of a “Zaporozhian with a barrel of vodka” and Abraham aiming “a pistol at Isaac”. The epic gives way to the comic, giving way to the grotesque of biblical scenes. The strange juxtaposition is repeated in Korobochka’s case – a portrait of Kutuzov among paintings with birds; in Sobakevich’s case – a “thin” Bagration among fat Greeks; in Plyushkin’s case, who disliked the military, – an “engraving” of a battle with “shouting soldiers”, juxtaposed with a toothpick that was used “before the French invasion of Moscow”. Gogol’s leitmotifs in “The Silver Dove” were the result of the author’s fascination with Gogol’s prose. Hence the cracked portrait of the general with a bursting bomb at his feet in Gugolevo, the portrait of Skobelev with a hole where his face should be in the priest’s house. The images in the painting complicate the emerging picture of the world and can be considered in the context of the aforementioned problem.

The article examines the primary Old Germanic ways of indicating kinship (kinship terms, first names and patronyms) in the Old English poem “Beowulf” to study the kinship status of Germanic women during the Great Migration Period (4th−7th centuries). The results of the research demonstrate the patriarchal nature of the Old Germanic family, in which a woman, a peace-weaver spinning the thread connecting her father’s relatives with her husband’s, is identified by men: father, husband, son. Maternal kinship, although secondary in terms of inheritance, is nevertheless particularly significant, as is evidenced by some relics of matriarchy (e. g. the avunculate or naming a child after the mother) yet expressed in “Beowulf” less explicitly than in Old Scandinavian literature.

The paper examines dialectal features manifested in Cossack commemorative inscriptions, based on 19th century epitaphs and comparative records of contemporary dialectal speech. The study focuses on phonetic characteristics of the local vernacular (hardness of the sonorant /r/, bilabial /ў/, fricative /ɣ/, simplification of consonant clusters, reflexes of affricates, progressive palatal assimilation, among others), alongside morphological and lexical peculiarities, including the unique lexical item ‘похесохтся’ and vernacular anthroponomical forms. The findings are compared with field data and dialect dictionaries. It is concluded that the inscriptions preserve a historical stage of the dialect, certain features of which are still retained in the speech of present‑day dialect speakers. Comparative research on epitaphs from different Terek stanitsas is identified as a promising direction for establishing integral dialectal traits common to the Terek Cossack dialects.

This article examines the cluster organization of the semantic space of the social verbal vocabulary of English language with the semantic component “Education”. To achieve the purpose of the study the continuous sampling method, component analy­sis, and cluster analysis were used. The material for the article includes 65 verbs of modern English, selected by the method of a complete sample. The version of this cluster analysis is performed in the computer program Statistica 5.5. Cluster analy­sis takes into account two statistical parameters: “Cluster distance” and “Grouping method”. Along the “cluster distance” line, the correlation coefficient “1-Pearson r” is used in this article. To implement the comparative analysis several parameters were introduced that were present in the feature space regardless of the specific organization of the feature: feature variability, planned variability, nuclear variability of levels and variability of oppositions.