Articles

The study focuses on the works of J. Ortega y Gasset, in which the Spanish philosopher offers a new vision of Linguistics analyzed from the point of view of Anthropology, Discourse Theory and Philosophy and first presented by him in 1938. Ortega’s bibliography contains articles in which he develops ideas relevant to Philological science, objecting to Saussure and criticizing Structuralism as the dominant research paradigm at that time. The subject of the research paper is the J. Ortega y Gasset’s ideology about the language and speech nature, formalized in the concepts called New Linguistics and Theory of Utterance, as well as the author’s views on the new approaches to the study of Philology (New Philology) and Grammar (New Grammar). In his works, the Spanish philosopher examines the dynamic nature of language and speech in its projection onto the speaker and substantiates the need to take into account the communicative intention and the communicative context, thereby anticipating the scientific research of the founders of the Speech Act Theory and Discourse Analysis J. Austin, J. Searle and Teun A. Van Dijk. The article makes an attempt to describe and systematize the main ideas introduced by J. Ortega y Gasset, relevant to such areas of modern Linguistics as Pragmatics and Text Linguistics.

The article is a review of the collective monograph authored by the Siberian Federal University scholars — Koptseva N.P., Kolesnik M.A., Leshchinskaya N.M., Samarina D.N. “Russian cultural identity in the Fine Arts of the 19th — early 20th century”. The researchers examined the features of Russian cultural identity construction in the works by V.G. Perov, I.Ya. Bilibin, M.V. Nesterov and B.M. Kustodiev. The relevance of the book lies in the fact that it is the first of its kind in the series of scientific art criticism and cultural literature “Russian Culture”. The scientific novelty of the monograph consists in the philosophical and art criticism analysis of religious philosophy as a source of cultural identity, in the substantiation of new theoretical concepts such as area-critical and area-romantic styles. The results of the presented work contribute to the study of the process of constructing Russian cultural identity from the standpoint of God-seeking in works of fine art of the late 19th — early 20th centuries. The practical value of the book lies in the systematization of the basic content of Russian cultural identity and the establishment of a connection with the key concepts of Russian religious philosophy, including the ideas of Russian Orthodoxy, Slavophilism, the concept of Sophia — the Wisdom of God in the interpretation of V.S. Solovyov, the application of the sociology of imagination in the study of mythology, symbolism, semiotics of signs, visual perception of painting. The results of the research outlined in the book can be used in teaching courses on the history and theory of Russian culture as well as in the creation of special courses and programmes based on the relationship between culture, philosophy, Religious Studies and literature.

The article focuses on the study of the peculiarities of interpretation of Greek myth in the Afro-Brazilian cultural space using the material of the film “Black Orpheus” directed by M. Camus, based on the play “Orfeu da Conceição” by Vinicius de Moraes. The author traces the origins of the appeal to the image of Orpheus in the works of Camus and Moraes, and reveals the connection with the French dramatic tradition and cinema. M. Camus transforms the Greek story through the prism of the culture of the Afro-Brazilian population of Rio de Janeiro — the inhabitants of the favelas. The film brings to the fore the musical component of the myth, with the help of which the originality of the Afro-Brazilian tradition and carnival practices of Latin America are revealed. Orpheus in the film appears as a tram driver, singer and leader of a samba school. His image combines the Dionysian principle (the carnival tradition into which Orpheus is “inscribed”) and the Apollonian (expressed in lyrical songs and cultural codes of bossa nova). The carnival “building” of mythological reality allows us to touch the spiritual layers of the Brazilian tradition — the syncretic cult of Candomble. The space of the Macumba ritual symbolizes the Kingdom of Hades, in which dialogue with Eurydice is carried out through musical magic that opens doors between the worlds. The passage through the Kingdom of the Dead represents a rite of passage in which the hero dies and is reincarnated in a new form: in the finale, Orpheus “transfers” his musical gift to the boy, symbolically gaining new life in him. The interpretation of the ancient Greek plot in the space of Afro-Brazilian carnival practices helps to reveal the civilizational specificity of Latin America and Orfeus as an “eternal image” that embodies the divine gift of love, the magic of music, and eternal existence through a change of forms.

In Chinese, verb aspect is expressed by verbs in combination with various linguistic means. Based on the difference between the verb aspect system of Russian and Chinese languages and the possible expressions of verb aspect in Russian, this paper aims to predict possible errors in the use of Russian verb aspect. In order to check the correctness of our analysis, a special diagnostic test was conducted. The test results show that the errors made by Chinese students primarily do not stem from the influence of their native language, but from the fact that students are not able to assess the situation, cannot find or even see certain reference points, available signals, directly indicating the use of this or that verb aspect. Errors are explained by elementary ignorance of the verb forms, especially in such cases as брать — взять, ловить — поймать and ignorance of the formation of the verb form itself, for example, the formation of the imperative form, etc. This is the result of insufficient training of students. In this case, the problem is not in students, but, firstly, in the complexity of the topic itself, and, secondly, in the method of teaching. We believe that it is necessary to give students a clear scheme of verb aspect meanings and identify those signals that can help students choose the type of a verb adequate to the situation of communication; the course of studying the verb aspect should be long enough, because strong and stable skills of the correct use of verb aspect are formed only as a result of gradual and regular work on the types of the verb, made over a long period of time. The results of this work can also serve as a starting point for determining not only the content of verb types teaching exercises, but also for developing methodological recommendations for them.

This article discusses the challenges and solutions for teaching Russian as a second language to students in China. It analyzes Russian and Chinese language teaching materials and identifies the factors that contribute to the low level of proficiency among Chinese students. The article proposes several solutions, including taking into account cultural differences and adopting teaching methods similar to those used in Chinese educational institutions.

The article is devoted to the period of the origin of Russian textbook studies in foreign languages, a significant contribution to the formation of which was made by Professor of Imperial Moscow University Ivan Andreevich Нeim (1759–1821), an encyclopedic scholar, teacher, and public figure. The article provides a brief description of the professional scientific and pedagogical biography of I.A. Нeim, who was at different periods of his academic activity not only a professor, but also the first Dean of the Faculty of Philology and the Rector of the University. Special attention is paid to the analysis of the structural and substantive characteristics of the first edition of the textbook by I.A. Heim “Russian Grammar for Germans” in 1789 (German: “Russische Sprachlehre für Deutsche”). Variant features of the metalanguage of the book in the field of translation of terms, as well as units at the graphical, orthographic, morphological and lexical levels are revealed. The content of the book, on the one hand, includes a theoretical description of the structure of the Russian language (in German), on the other hand, it is practical in nature, which is manifested in the absence of a large number of definitions, the presence of sections on teaching phonetics, a mini-dictionary and bilingual dialogues on everyday topics. The analysis of the textbook provides us with insights into the formation of textbook studies at the end of the 18th century and enables us to discuss the creation and development of prototypes of a modern tutorial book and phrase book of foreign languages.

Using paremiological dictionaries as an example, the article considers new approaches and trends emerging in modern English lexicography in connection with its digitalisation. From the initial scanned versions of authoritative paper dictionaries, e-lexicography is increasingly moving towards the development of pro ducts specifically designed for use on computers and mobile devices, a frequent first step in this process being the use of the resources of national linguistic corpora, followed by the creation of independent paremiological corpora. The creation of e-dictionaries is gradually becoming a separate lexicographic trend with its own subject and object of research. The present study has revealed a number of characteristics of English-language electronic paremiological dictionaries, such as: growing connection with language teaching; increasing unprofessionalism of compilers of Internet reference resources, leading to their unreliability; extending influence of the so-called “non-native speakers” of English; expanding range of non-verbal resources of elexicography, which are capable of performing some scientific tasks that are beyond the reach of traditional paper dictionaries (for example, dictionary fixation of the threefold structural-content-functional topological invariant of frequently reproduced memorable phrases). Professional lexicographers need to learn how to use the new possibilities of the modern electronic and digital era to the best advantage, combining the necessary linguistic, digital and design competences at a professional rather than amateur level.

The article presents a comparative analysis of the semantic portraits of the singer and the cultural hero Wainamoinen in two English translations of the epic “Kalevala” made by William Forsell Kirby and John Martin Crawford. Following a certain algorithm, the different-structured nominations of the hero are classified and subjected to component analysis, through which an inventory of semes and semes’ specifiers is fixed, which allows to identify isomorphic and allomorphic characteristics in the portraits of the hero. The study shows that the dominant position in the semantic portrait of Wainamoinen is occupied by the so-called song space of the hero, since singing is the main activity of Wainamoinen by means of which he influences the surrounding world. The semantic portrait of Wainamoinen is a four-level structure, including nominations (1) characterizing him as a singer, (2) characterizing his singing, (3) characterizing the process of his singing and (4) characterizing functions of his singing. The study also demonstrates an importance of nominations which have the structure of a sentence and super-phrasal unity. They allow to fix additional semes in lexical nominations. The article concludes that the semantic allomorphs of Wainamoinen’s portrait characteristics are determined by both linguistic aspects (the choice of the source text for translation: original text in the Finnish language and the interlinear translation in German) and extralinguistic aspects: differences between British and American lingua cultures and personal preferences of each translator.

The article presents the results of a linguopragmatic study of explicit and implicit means used by journalists of law-related corporate mass media to model the positive image of a modern Russian lawyer. The author observes that at present there is a social need to replace deeply rooted negative stereotypes about lawyers/advocates in the collective consciousness, since it is the representatives of the law who form patterns of law-abiding behavior. Mass media play a significant role in forming images of lawyers whom many Russian citizens rarely meet in person. Analyzed interviews with lawyers and lawyer biographies enable the recipients to learn more not only about the professional activities but also about personal life and inner world of lawyers, thus, demonstrating a great potential in modeling their images. The article highlights and analyzes three aspects that, in the author’s opinion, are of greatest importance for creating a positive image of a lawyer in modern Russian society

The article is devoted to the analysis of the effectiveness of the use of specific English-language alliteration in Russian-language ergonyms and advertising slogans. The purpose of this work is to determine the degree of emotional impact of this stylistic device on native Russian speakers and, as a result, its effectiveness for use in creating ergonyms and advertising slogans in the Russian language. The objectives of this study include the analysis of differences in approaches to the definition of the stylistic device “alliteration” in the English-speaking and Russianspeaking linguistic traditions; collection and analysis of Russian-language ergonyms and advertising slogans, built on the basis of specific English alliteration, by the method of continuous sampling. The research also looks into the functions of alliteration techniques in the Russian-language ergonyms and slogans, includes a sociolinguistic survey in the form of a questionnaire among 125 native speakers of the Russian language aged 18 to 40, of different professions, with University degrees.

The paper provides examples of Russian-language names and advertising slogans created using specific English alliteration. The results of the study indicate that specific English alliteration plays a role in promoting the attractive and aesthetic functions through ergonyms. The analysis of the sociolinguistic questionnaire showed that in five out of the seven proposed categories, the survey participants preferred ergonyms and advertising slogans created using this technique. Taking into account the results of the study it can be concluded, that today a specific English alliteration is an effective linguistic technique used in the Russian language for creating ergonyms and advertising slogans.

The article examines cultural standards of modesty in the Russian and Chinese languages. The study is based on dictionaries and text corpora of two languages. The purpose of the work is to determine universal and nationally specific features in the formation of cultural standards of modesty in the Russian and Chinese languages. The object of the study is modesty as a traditional value of Russian and Chinese linguistic cultures. Modesty is encoded using cultural standards that reflect the essential features of modesty as a sociocultural value that characterizes Russian and Chinese cultures. The study found that in the Russian language, modesty, which is predominantly gender-based, is mainly associated with the image of a girl (woman). Modesty as a universal human quality is realized contradictorily: 1) “the modesty of a hero, a real person” and 2) “the modesty of a quiet, timid, dependent person.” In Chinese linguistic culture, “modesty” occupies a strong position, and its “standard” implementation, determined by the ideas of Confucius, is an integral part not only of etiquette, but also the worldview of the Chinese. In the Chinese language, the “standard” implementation of modesty, defined by the ideas of Confucius, is an integral part of etiquette. The Chinese modesty system is associated with natural objects and plant images that are of great importance to Chinese culture. The results of this study can be used in lexicographic practice and in teaching Russian and Chinese languages.

The article considers the emphatic patterns of syntactic structures used for highlighting communicatively relevant elements in promotional discourse with a strong persuasive effect. The research was conducted on the material of 19 automobile promotional brochures containing valuable information about automobile brands and their manufacturers for the target audience. The aim of the research was to study emphatic structures occurring in the English promotional discourse and determine the most frequently used types of emphasis. The study found that the emphatic displacement towards the anaphoric syntactic position occurred most frequently for underlining semantically relevant speech elements. The anaphoric emphasis is intended for the rhematization of thematic parts, which, nevertheless, does not diminish the significance of the cataphoric position, being traditionally occupied by the rheme. In addition, the syntactic emphasis was actively accompanied by discursive intensifier words, which, according to the quantitative data, were used in the middle of the emphatic sentences most frequently, thus fulfilling the function of retaining attention in continuation of the emphatic beginning. Due to the rheme displacement and discursive words, the entire emphatic structure becomes in the focus of readers’ attention against the background of surrounding discourse. The most common syntactic means of emphasis, in descending order, are the following: fronting, pseudo-cleft and cleft sentences, inversion, elaborative, introductory and duplicative sentences. The results of the research can be used for teaching linguistic text analysis and applied aspects of linguistics to students specializing in linguistics and professional English to students majoring in advertising and PR.

The article examines the processes associated with the formation of the French designation system using the example of the name L’Hexagone and its interrelationships with other names: la France, la Gaule, la V-me République, etc. Taking into account the works of A.V. Superanskaya, R.A. Ageeva, G.S. Dorzhieva, G. Bashlyar, A. Dose, A. Dorion and others, the examination of linguistic and sociolinguistic data found in dictionaries, artistic, journalistic and scientific writings, as well as on Internet sites, is conducted. The purpose of the article is to establish the place of the Hexagone name in the French polyonym system and to qualify the associations underlying this name. It is shown that among them is the image of a regular geometric figure (circle, square, six- and octagon) with geopolitical, ideological and aesthetic connotations. A number of connotations bring this image closer to the “lived space” in the understanding of G. Bachelard and the metaphor of the container space of J. Lakoff and M. Johnson. The variability of the designations of France, forming a system of polyonyms and reflecting the development of a sense of identity of the French, is emphasized. A manifestation of this feeling is the sensory perception of the space of collective identity as harmonious and protected, which is manifested, in particular, in the name L’Hexagone.

The article briefly describes the milestones of the life and scientific work of Vladimir Vladimirovich Zakharov (09/13/1953–12/05/2023) — head of the Department of German Language and Culture at the Faculty of Foreign Languages and Regional Studies (Lomonosov Moscow State University), Academician of the Academy of Military Sciences of the Russian Federation, Professor, Doctor of Historical Sciences. Various aspects of his activities are considered: as a military interpreter and translator, a historian and an archivist, an organizer, and a teacher. Some key works of the scientist in various fields of military historical science are briefly analyzed: Soviet-German military, political, cultural etc. relations in the 20th century, economic aspects of the Second World War, the history of Russian and German intelligence agencies, issues of restitution of cultural and artistic values, etc. An important place in the article is given to the coverage of V.V. Zakharov’s works devoted to the activities of the Office of the Soviet Military Administration in Germany (SWAG) and the military intelligence. The article highlights V.V. Zakharov’s significant contribution to the introduction into scientific circulation of a large number of previously unknown archival documents on various aspects of military historical science. The author also draws attention to V.V. Zakharov’s pedagogical and organizational activities in higher educational and scientific institutions in Russia, as well as his educational and methodological works

While there is a vast literature on translation transformations and techniques, little attention among Russian researchers is paid to the omission. The article attempts to contribute to the debate by analyzing the omission as a translation technique, as well as verb omission examples when translating a literary text from Russian into French. The omission means elimination of a source text (ST) element while translating into target text. The omission can occur at the semantic or structural-semantic levels. The latter implies not only semantic but also syntactic changes. The omission can be due to the redundancy of an element in the ST. Redundancy in ST can be caused by the structural features of the source language, repetition of information in the text or by the opportunity to extract information from the situational context. The analysis of examples of verb omission taken from the translations into French of the novel Oblomov written by Ivan Goncharov showed that the use of this technique in relation to Russian verbs obeys the general patterns of the use of omission listed above: a French translator can omit a verb and use a more economical construction allowed by the norms of the French language; can translate one verb from two ST verbs with the same meaning; can eliminate the original verb if it’s meaning can be derived from the situational context. However, the original verb can convey stylistic meanings that are important in the work; if this verb is omitted, stylistic meanings disappear.