Articles

Deontic modality is a modality of motivation for action, for compliance with certain laws, requirements and norms. It can be expressed in the form of an order / appeal, prescription, instruction, request, recommendation, permission, persuasion, reasoning, etc. The aim of the study is to show how the genre of the text can influence the choice of explicit and implicit means and ways of expressing this type of modality in the German language, which is realized during a specific discursive practice. Popular science, legal and literary texts became our empirical material. Particular attention was paid here to the phenomenon of isomorphism of modal verbs as markers of various situations of deontic modality. Isomorphism in this case is understood as the uniformity of the ways of expressing modal shades of an utterance in different linguistic forms. Due to this characteristic of German modal verbs, which are combined into one group, primarily based on the commonality of their etymological roots, the same verb can be a marker of different situations of deontic modality, which the article shows in the use of the verb können as an example.

Proper names serve different linguistic functions, ranging from basic – cognitive and communicative to affective, identifying, evaluative, password, pragmatic, characterizing, expressive, appellative, iconic, implicative, index, individualizing functions, in which they display their full potential. The functional repertoire of onomastic units is aimed at distinguishing a subject or object from similar ones, to give it a direct or indirect characteristic, to convey some information and evaluate. Proper names, once created by the author of a particular work, are often used in other texts, acting as allusions, thereby expanding the interpretive potential of onyms. The anthroponym represents a hero already created by another author, and for the perception of the novel it is necessary to know the prehistory. In modern culture, we often see a personal name going “beyond its borders” when it “jumps” from the pages of books onto movie screens, store windows, product labels, advertising billboards, etc. The name expands its information potential and the possibility of interpreting its culturally marked and semantic component. Now we see not only the continuation of the storylines or the usage of the name outside the original context, but also the mixing of spaces of different texts in one, within which all characters are allusive and to understand the storyline of such “patchwork” works requires a certain background knowledge of the recipient. In such works, the proper name not only realizes the individualizing, cognitive, communicative and other functions listed above, but also appears in a new representative function. This function is analyzed in the article in the series “Once Upon A Time”.

The paper pursued the aim to model linguistic picture of the world, relying on the frequency of the lexis in the Russian, English, and Turkish languages, established by the proprietary methodology of quantitative analysis of the Voronezh School of Applied Linguistics. The nuclear vocabulary, identified through several linguistic criteria, was included in the smaller parametric kernels and studied in this paper in the context of the linguistic picture of the world. A comparative method was applied to reveal general features and specific differences in the world pictures of the three languages. The result of the analysis found out that the nuclear vocabulary of each language, selected on the basis of linguistic-statistical grounds, provided a definite idea of the basic views of the linguistic community towards the world. The results of comparison of the lexical world pictures revealed that the smaller parametric kernels of the three (Russian, English, and Turkish) languages actualized both general spheres of cognitive interpretation of the world and specific spheres of knowledge. The coincidences of many fragments in the lexical world pictures proved that there were universal fundamentals in the life of the peoples. Whereas discrepancies in the given linguistic world pictures dealt with a specific mental-linguistic interpretation in the aspect of the internal detailing of the cognitive-semantic blocks as the fragments of the linguistic world picture (LWP). The discrepancies originate from the way a person sees himself/herself, his/her nature, his/her preference for particular types of physical activity, the ways how he/she evaluates the environment, the level of how he/she actualizes abstract concepts, and processes of mental activity, as well as the choice of objects of the tangible world, etc. The picture of the world of each language represents a basic model of the world perception of the native speakers of the Russian, English, and Turkish languages.

The aim of the present paper is to focus on identifying the main cognitive mechanisms in the mental world by which the human consciousness and traditional classical myths are renovated as motivated by the contextual factors and underlying modern technologies. Through a frame/slot analysis of the modern text/discourse we draw attention to the way in which the most typical intertextual properties of the renovated myths are represented. They are as follows: 1) the division of input spaces and their quantity number; 2) the semantic intertextuality; 3) the formal (structural) interteхtuality; 4) the allusive intertextuality; 5) the memetic intertextuality. We conclude that the archetypal myth strategies in the modern text/discourse can be renovated by two means: 1) remythologisation (that is, exploration and usage of the traditional archaic plot, narration, a literary bookish stylistic register, names, structural arrangement, semantic meanings in the new context); 2) demythologisation (that is, negative or ironical attitude to the main gods, titans and heroes; non-formal stylistic register; a low-level pathos; the modern plot and social context). All these properties transfer the archaic myth into the new semiotic unit, able to be functioning in the new social and temporary situation and communicating with the new generation of the 21st century.

The present paper deals with some aspects connected with the selection of the translation strategies represented in different Bible versions. The view according to which the piety towards the sacred content of the Holy Writ and the danger of its possible distortion stimulated the tradition of the literal translation and led quite often to the literality, archaization, etc., is widely spread among the specialists, although at the same time the great role of the Bible translations as the means of the formation and development of the many literary languages is also recognized. On the other hand, besides the pure linguistic aspect as such, the strategy of the different Bible translators could also touch the substantial part of the original due to different pragmatic reasons. This is particularly evident in so-called ‘modern translations’. This process has been influenced by the appearance of the new translation theories. In turn, ‘pragmatics’ itself may have a different character and be related with different sides of the text: from the methods of the representation of the so-called cultural words (‘realia’) to the interpretation consistent with the norms and principles accepted by the translation organizers and the target audience.

This article aims at analyzing some ways of providing effective feedback and organizing reflective activities in online learning of foreign languages. Feedback and reflection make it possible to identify the strengths and weaknesses in the work of students, the effectiveness and efficiency of the educational strategies and tasks used, make it possible to build an individual student’s route to overcome difficulties, compensate for errors and improve learning outcomes. The concept of feedback and reflection is considered as a mechanism for increasing student motivation, it helps create an interactive educational online environment, regulating and adjusting the learning process. The authors analyze the didactic potential of digital tools and mobile tools used to develop reflexive and communicative skills of students, provide some practical tips on organizing reflexive activity in online classes, highlight the stages of reflexive activity, the prerequisites for providing effective feedback. The didactic potential of digital tools allows educators to provide quick, targeted and timely feedback, to organize reflection, to introduce the elements of gamification into the educational process, to save the results of polls and votes, to conduct an effective analysis of positive and negative results, on the basis of which the teacher can make changes in his own pedagogical activity, and in the educational activity of students.

Telecollaboration is known to have several forms. This article concentrates on teletandem, i.e. tandem realised via telecommunications. Tandem method of learning languages means mutual free exchange of language knowledge: two native speakers agree between themselves to teach each other their mother tongues. In the course of their tandem interaction they constantly rotate their functions of teacher and learner. Their collaboration is absolutely autonomous: they are independent of any institution and free of any financial obligation to each other. They are equal and equally interested in successful learning their partner’s language (principles of reciprocity and parity of languages). MSU (Russia) and VCU (USA) adapted the initial tandem method to enhance their students’ compulsory/mandatory foreign language learning (English and Russian, accordingly) under their curriculum. The tandem-partners communicate via ICT (t-Tandem). Free independent tandem is transformed into institutional (i.e. included into the students’ curricula as an elective learning activity). The autonomy of tandem learning is preserved but in a slightly restricted way due to the necessity to evaluate its successfulness. A suitable for both sides structure of teletandem was worked out, which includes three stages: an introductory videoconference for MSU and VCU students’ acquaintance and making tandems; task-based autonomous learning in tandems resulting in the preparation of Power Point presentations on a developed theme and a final wrap-up videoconference with students’ showing their presentation for common discussion. The survey conducted among the students on their completing the project resulted in valuable observation, which made it possible to identify positive and negative factors in project implementation and outline the prospects for its improvement.

In the era of glocalization, the effectiveness of university teachers’ research activities largely depends on their translation competences and capabilities required for undertaking research and presenting research findings in intercultural scientific settings. The paper highlights the fact that a modern university teacher (who is not a professional translator) is much involved in translation/interpretation activities as an amateur translator who uses translation for his research purposes and, thus, needs an appropriate level of translation education. The author suggests that the notion of “translation education of a university teacher-researcher” (as an amateur translator and mediator) should be conceptualized on the basis of a linguo-didactic consideration and interpretation of the EU’s four level competency-based profiles of the researcher depending on his status rank, the presence / absence of an academic degree and professional research responsibilities. The paper describes the linguo-didactic technology of developing translation and mediation indicators for evaluating the university teacher’s abilities and capacities to achieve a communication and research success in the glocalized multilingual & multicultural context of “Open Science. Open innovations. Open to the world”.

The language captures the historical and cultural picture of the world, because without words it is impossible either to describe an object, or to preserve the memory of it. Language as a keeper and translator of cultural and historical values operates with a vast baggage of various means for the nomination of new objects, their description and representation. A proper name acts as one of the means of verbalizing new knowledge, and a form of representation of knowledge accumulated in the language as a whole. Onyms have encyclopedic meaning, which makes it possible to incorporate a large amount of information, but an adequate understanding of the information conveyed by the name depends on the background knowledge of the recipient. A proper name can be considered as a code with the help of which the author’s communicative message is verbalized; it realizes the cognitive, communicative, expressive, axiological and password functions in the text. For a comprehensive study of the functioning of the onomastic code of culture in the literary text, the work of Lev Kassil “Get ready, Your Highness!” was analyzed. This work is saturated with the realities of the corresponding era, and proper names in it sometimes represent social practices characteristic of that time. Onyms are used to represent one’s social status, indicate a political situation, not only identify a person, but also draw patterns of behavior typical of a given era. For an adequate perception of the work, it is necessary to decode the encyclopedic and socio-cultural information presented in proper names. The implementation of the coding function by the name is aimed at the semantic disclosure of the potential of the semantic development of a proper name, its use as a universal linguistic unit capable of simultaneously activating the function of linguistic economy and the function of multilevel interpretation.

The article focuses on the research of the sources, artistic distinctiveness, symbolism and functions of humorous play imagery of Death in Mexican and Mexican-American cultures based on mythology, folklore, music, traditional food, crafts and different forms of mass culture (caricatures, advertisement, internet, puppet installations). The concept of “La Muerte Sonriente” is regarded as a synthesis of the following historical and cultural components: the ancient Mesoamerican tradition of veneration of the Death as a deity and the idea of duality; the traditions of Medieval Europe (carnival forms, the macabre dance and Catholic traditions of All Saint’s Day and All Soul’s Day); the art of J.G. Posada and its development in Mexican folklore. The author comes to the conclusion, that the humorous play imagery of Death being a key “expression of Mexican spirit” has the following functions in Mexican and Chicano cultures: the transmission of the traditional worldview and values, the actualization of family and historical memory, establishing live connection with ancestors, as well as educating, ritual, entertaining, advertising and identity functions. The concept of “La Muerte Sonriente” has a special significance for Mexican-Americans in the process of their ethno-cultural identification, in marking borders of Chicano world in the national culture of the USA and in the actualization of a cultural dialogue with the motherland.

The article is devoted to the gender aspect of literary studies based on the works of the French writer and poetess Christine de Pisan (1364–1430).

The attitude towards “masculine” and “feminine” behavior has dominated for many centuries and has not lost its influence in modern society. The privilege of the patriarchal view in traditional culture also applies to the traditional cultural text. The development of gender studies in the second half of the twentieth century contributed to the interpretation of gender as a discursive phenomenon by its nature. These studies enhanced the differentiation of texts as cultural phenomena into “masculine” and “feminine” types in modern philosophical and cultural studies. The purpose of the study is to identify and explain the features of discursive practices as a reflection of specific female subjectivity. The article analyzes the main features of “masculine” and “feminine” discourse. The concept of “feminine writing” (écriture féminine, H. Cixous’s term), “feminine style of writing” (Derrida’s term) are specified, special attention is paid to the issues of representation and constructiveness of the subject. A specific nature of the discourse on female identity is analyzed using the works of Christina de Pisan as an example, who laid the foundation for the tradition of women’s essays in support of female representatives (“Book of Fortune’s Transformation” (Le Livre de la Mutation de Fortune, 1403); “The Book of the City of Ladies” (Le livre de la Cité des Dames, 1405). The conclusion is made about the interconnection between the intellectual side of women’s identity and the issues of women’s education in this type of discourse, where women’s education is a necessary condition for the transition of women from the role of an object to the role of a subject of culture.

The article examines the Italian commedia dell’arte as one of the components of the cultural heritage of Italy and the theater festival “International Day of Com- media dell’arte” as an information channel for promoting the cultural and historical national heritage of Italy to two addressees - the national and world communities. The article provides a brief description of the theatrical performances of the 2019 festival; it analyzes as well the thematic, dramatic, regional and linguistic specifics of the comedies selected for the event, identifies the main objectives of the festival on the national and international stage. In terms of intercultural communication, the author analyzes the difference in the presentation of the Italian commedia dell’arte in Italy and in foreign countries, respectively, reveals different approaches to positioning cultural and historical heritage depending on the addressee. The article identifies three general tendencies in the positioning of the commedia dell’arte: outside Italy, the classical staging of the commedia dell’arte prevails in order to familiarize foreign audiences with the tradition of the theater of masks; on the territory of Italy on stage they prefer to experiment with traditional scenes from the commedia dell’arte in order to update the historical message of comedy in today’s social realities, as well as to maximally involve young Italians, future carriers of national cultural memory, in the actualization of the historical tradition; workshops for modeling comedy masks should preserve the traditional theatrical tradition, which is on the way of “extinction”, and also serve as an incentive for modern Italians to tactilely experience the comedy del arte as something tangible, material, belonging to them.

In his play created in 2017 Ivan Vyrypaev presents his view of modern Euro- pean society, and specifically of the problems and difficulties that the intelligentsia in Western Europe is experiencing, discussing and trying to solve today. The play is limited to one day of a scientific humanitarian conference taking place in Copenhagen. All actions of the characters are exclusively verbal: they make reports, ask questions, discuss. As a result, a general image of a European intellectual is created on the stage and includes the social status, way of life, relationships within the community, ideology, and worldview. Among the common features of the linguistic construction of the characters, one should mention the frequent use of the pronoun “I”, emotionalism and arguing ad hominem which is not characteristic of scientific discourse. Besides, in the characters’ speech, we have revealed special formulas of politeness, including forms of address, expressions of apology and gratitude and clichés used in scientific presentations and discussions. A distinctive feature is the skillful use of rhetorical devices by all the characters. The high frequency of the words man, life, god, truth, freedom reflects the main topics of the play. The imagological approach used in this study presupposes an interest to the author’s special vision, which obviously reflects the image of a scientific conference on humanitarian issues that a part of the Russian creative intelligentsia has. In addition, it is important to take into account that Ivan Vyrypaev uses this plot to present his philosophical views.

The article describes the role of grammar in the development of new terms and meanings in the English language. As applied to scientific texts in most recognized journals published in 2020, scientific English is shown to differ from General English in that it contains grammatical metaphor that adds weight and authority to the message and functions as a tool for generating new terms and meanings. The article discusses the definition of grammatical metaphor, its place in a sentence and reasons for its use. Grammatically metaphorical discourse with altered word order sounds clear, concise and meaningful. With changes in life and new developments in science due to the pandemic of coronavirus disease (COVID-19) caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) there appear new lexical forms in scientific publications that are grammatically metaphorical. As new terms, they get via mass media into General English opening up new horizons in its development.

This article continues the series of publications on the “active” grammar of the Russian language. The grammar of the “active” type, included in the socio-cultural context, makes it possible to identify and describe choice patterns of certain forms of actants depending on the meaning which the speaking (writing) subject aims to express. The research was conducted in the direction from the meaning of the verb to the expression form of its actant positions. This article is devoted to the role identification of the evaluative component of the meaning ‘shame’ of the verbs in the realization of syntagmatic properties within the actant structure. The purpose of the article is to demonstrate how the subject’s negative assessment of his actions affects the way of designation of verbal actants. Analysis of the actant structure of ‘shame’ verbs has shown that the evaluative component requires a special arrangement of actants, one of which is the object of evaluation, and the second designates a witness, a real or potential eyewitness to an event unpleasant for the subject. The way these positions are formalized depends on the meaning of the verb, on the characteristics of the objects themselves, and on the value attitudes of the culture. In Russian culture, the “position of responsibility” is understood as a position for a person or a group of persons who occupy a higher position in the social, family or intellectual hierarchy than the subject. The “status” of Russian culture is indirectly reflected in verb syntagmatics.