The article deals with general problems of the current state of fundamental linguistic research in connection with the development of the content and practice of teaching linguistic disciplines. The involvement of new knowledge about Man and Language that has been obtained in recent decades is regarded as a necessary condition for building a theory of language and models of its description for teaching theoretical linguistics in the system of linguistic and pedagogical education. As an example, the author gives a brief overview of the materials obtained by scientists from several experimental neurocognitive projects that can shed light on the problem of the relationship between Language and Thinking. The article considers works that systematize methodological aspects of language research using neurocognitive technologies, which indicate revolutionary changes in the technical equipment of neurocognitive experiments aimed at studying oral speech, the results of which can no longer be ignored in the construction of language theory. The author also mentions the most productive discussions of recent times, which use data from neurocognitive experiments as arguments. Assessing the contribution of foreign and domestic discussions on the relationship between Language and Thinking, the author notes the particular contribution of the Russian psycholinguistics, especially to the issues of linguistic and psychological aspects of the circulation of word meanings in the semantic field of culture. The basic principles on which the model of language description can be built within the framework of an interdisciplinary approach are proposed. They are associated with network models, which are the most developed in the current practice of interdisciplinary research in the light of human peculiarities as a species, which allows us to obtain universal data when considering different languages. Theoretical discoveries by Russian psycholinguists concerning Language Personality help to overcome the contradictions between Language and Thinking which arise when these phenomena are viewed as certain abstract and discrete entities represented within the framework of a traditional dichotomy. Sociocommunicative attitudes concerning the ways people manipulate the bodies of language units grow from the intentionality of the language personality, which can be accessed on the model of the associative-verbal network of the studied speech community. Different types of network models solve different problems in the Human and Language Sciences and can be used in a complementary way. Thus, the general idea of Interdisciplinary Linguistics and the corresponding theoretical courses should take into account the main dimensions of human formation.

Based on the example of S. Esenin’s six poems from the cycle “Persian motives” certain reconstructions of poems making them parallel / symmetric are considered. It is pointed out that the strophes of some of them, namely in “Shaganet, o my love, Shaganet” are initially symmetric, others can be reduced to symmetry as a result of elementary transformations, still the others have the structure that does not allow of symmetrization without the reorganization of the whole poem. The poems considered in the paper are asymmetric five-line stanzas, however, they have a greater combinative power of verses than quatrains. In all the cases variants of reduction to symmetry are found or the reasons why it cannot be done are specified. Examples of “errors” in Pasternak’s and Merezhkovsky’s verses are identified and then “corrected”, which make the above poems symmetric.It is noted that the method of poetic symmetrization is universal and can be used both at the horizontal analysis level (regarding symmetry of rhythm), and at the vertical one (dealing with symmetry of rhyming schemes, refrains and other composite figures of prosody).

Russian speakers make up the biggest group of foreign-language speakers in Finland. Their use of Finnish words in Russian discourse can be interpreted as an example of multilingual practices, such as code-switching. It can also be viewed as an example of how loanwords are assimilated. While speakers of Russian in Finland are part of a worldwide internet community, they also represent a local community that can have a language form of its own. This article presents an analysis of about 500 cases of Finnish lexical items and word combinations usage in written Russian (260 different lemmas). The material for the research was selected from written internet discourse of a Russophone community on Facebook, a social media platform. Members of this community are Russian women who have been living in Finland for some time. The Finnish words were studied in the context of posts and replies to them. The 475 Finnish words found amounted to 4 % of the total 12,022 words used in the source. The analysis of the material took into account semantic and grammatical features of the items. Semantic features included the categories of proper nouns, terms and other words related to life in Finland. The grammatical analysis began by studying the choice of writing system, i.e. whether the units retained their original spelling which is either in Latin or in Cyrillic. After that, the Finnish words that had been transliterated were studied for the presence or lack of declension as compared to the Russian norm in similar uses. It was suggested that the tendency not to decline Finnish words written both in Cyrillic and Latin in the discourse also affected the syntactic positions in which they were used, making positions that did not require declension overrepresented. The number of examples subjected to the assimilation rules for loanwords in Russian (transliteration and using declension) was small. Therefore, most of the examples represent code-switching, a natural consequence of those living in Finland, and provide evidence for the existence of a local version of Russian.

The purpose of the article is to determine the origin of the color term kөk / kӧk in the Kazakh and Altaic languages, to trace the development of these tokens in Turkic languages and cultures, and to identify their specific usage. The research was conducted on the basis of the dictionaries of the Kazakh and Altaic languages as well as the samples from Kazakh and Altaic prose. A historical comparative and descriptive methods have been used. The study highlighted the main meanings of the color designations kөk ~ kök in the Kazakh and Altaic languages: blue, green and grey. They are equally common in the Kazakh and Altaic languages. Based on the meaning ‘green’ developed the meaning ‘unripe’. As for the meaning ‘gray-haired’, in the Altaic language it is used to indicate the color of the hair, while in the Kazakh language – only a beard and mustaches. In general, this meaning is manifested in contexts related to age: in the Altaic language it is old age, in Kazakh – mature age. Further the article describes synonyms of color designation kөk ~ kök. It has been shown that the color synonyms kөgіldіr, zеngіr (‘blue’) are used only in the Kazakh language, in Altaic kӧk means both blue colors. In the Kazakh language comparison of the color with such natural objects as the sky, ice, and salt was found to be more developed, for example: aspan (dai) kөk (lit.: like blue sky). The paper presents an interesting function of color designation kөk / kӧk which is intensification. It is observed in both languages; with the help of these tokens negative characteristics of the object are enhanced, for example: kaz. kөk zhalkau (lit.: blue lazy – bones), alt. kӧk tenek (lit.: complete fool). More significant differences are manifested in phraseological units, i. e. by further development of semantics in the languages. In the Kazakh language, the lexeme kөk functions as a component in phraseological units, denoting thinness and emaciation of a person, for example: kөk jambas (lit.: blue thigh) 1) very thin; 2) weak from old age, a feeble old man. In the Altaic language, such use of the lexeme kөk has not been noted. In general, we can speak of rich idiomaticity of the color scheme kөk in the Kazakh language in contrast to the Altaic language. There are also differences in the figurative use of these tokens in the structure of phraseological units: in Kazakh, these, as a rule, denote negative values, negative emotions, or associations with height, a cherished dream; in Altaic – they are used as the intensifiers ‘quite, completely”: kӧk ӱlӱsh (completely wet; lit.: blue wet). Comparing the two languages, we came to the conclusion that their greatest specificity is observed in phraseological units, which confirms the ability of phraseological units and fixed word combinations to reflect an ethnic world view and to be true keepers of the culture of the people.

This article is devoted to the pragmatic specifics of the color designations of the human body in the text of a forensic medical investigation. The forensic post-mortem investigation text includes data on external and internal research, special attention is paid to the designation of the color of the human body, its parts, organs, injuries and other phenomena discovered during the research, because these data can be important for determining the cause of death, time of death and resolution of other questions posed to the expert. A reliable color identification of these objects and their sufficient description in the text of the conclusion is one of the criteria for the completeness of the forensic medical examination. Texts of this type, despite their great social significance, are insufficiently studied with regard to pragmatics and rarely become objects of linguistic research. The purpose of this article is to identify pragmatic specifics of the selection of human bodies’ color designations in the text of a forensic medical investigation through their structural and semantic analysis. The main research methods are the continuous sampling method for highlighting color designations; quantitative analysis to single out the most frequent lexemes, structural and semantic analysis. Out of 20 texts of forensic medical expertise, with the help of continuous sampling we found 1173 color designations represented by 204 different lexemes. The following colors turned out to be the most frequent: темно-красный (dark red, 152), серый (gray, 79), желтоватый (yellowish, 45), сероватый (grayish, 39), белесоватый (whitish, 36), краснокоричневый and жёлтый (red-brown and yellow, 35 for each), серо-розовый (gray-pink, 31), бледно-серый (pale gray, 27), тёмный (dark, 23). These colors were most widely distributed: тёмно-красный (dark red, in 20 texts), желтоватый (yellowish, in 17 ones), белесоватый, серый and жёлтый (whitish, gray and yellow, in 16 ones), краснокоричневый (red-brown, in 15 ones), сероватый (grayish, in 14 ones), серо-розовый (gray-pink, in 12 ones), синюшный and бледный (cyanotic and pale, in 11 ones). Structural analysis showed the predominance of hue color designations over absolute ones; two- and three-component terms over single-component ones, and the widespread use of formants that specify the color intensity. The semantic analysis showed an insignificant number of color terms that have a metaphorical meaning, as well as complete absence of “authorisms” and stylistically colored color terms. Two main pragmatic intentions were established that characterize the selection of color terms in this type of text: on the one hand, it is due to the referent and the need to convey its color as accurately as possible with the lexical means of the Russian language, and on the other, the need to use only common lexemes.

The article analyzes the ways of expressing the emotion of РАДОСТЬ (HAPPINESS / JOY) in modern Russian advertising texts. The purpose of the article is to identify the main ways of conveying the emotions and emotional states of РАДОСТЬ (HAPPINESS / JOY) and their cultural specificity in the selected Russian advertising texts. To achieve this goal we have formulated the following objectives: 1) To build a lexical and semantic field of the lexeme РАДОСТЬ (“happiness” / “joy”) in Russian; 2) to build an associative field of the lexeme РАДОСТЬ (“happiness” / “joy”) in the Russian language speakers’ consciousness; 3) to identify the main ways of conveying РАДОСТЬ (HAPPINESS / JOY) in the analyzed advertising texts. The sources of materials are: 1) Russian explanatory dictionaries, Russian associative thesauri, and dictionaries of Russian synonyms; 2) a selection of 100 Russian advertising items made by native Russian speakers dating from 11.2019 to 02.2020. In order to create a lexical and semantic field of the lexeme “радость” (happiness / joy), a number of Russian language dictionaries gave been used, for example: the “Explanatory Dictionary of the Living Great Russian Language” by V. I. Dahl, “Explanatory dictionary of Russian language” edited by D. N. Ushakov, “Dictionary of Russian language” by S. I. Ozhegov and N. Yu. Shvedova, etc. Then we checked on the semantic structure of the lexeme “радость” (happiness / joy) in explanatory monolingual dictionaries of the Russian language as well as in the Dictionary of Synonyms. The Russian associative thesaurus (hereinafter RACES?) was used to build an associative field of the lexeme “радость” (happiness / joy) in the Russian language speakers’consciousness. Based on the analysis, 100 advertising contexts were selected and described with regard to the images conveying the emotion and emotional states of “РАДОСТЬ” (HAPPINESS / JOY), such as facial expression, people’s behaviour, the colour of images). We used descriptive and statistical methods, as well as the methods of semantic analysis and linguo-cultural interpretation. The novelty of the research is that it is by far the first to attempt: 1) To build a semantic field of the lexeme “радость” (happiness / joy) based on the lexicographic analysis; 2) to build an associative field of the given lexeme in the Russian language speakers’ consciousness based on the RACES; 3) to identify the main ways of conveying the emotion РАДОСТЬ (HAPPINESS / JOY) in selected Russian advertising texts; 4) to show cultural specificity of the manifestation of the emotion РАДОСТЬ (HAPPINESS / JOY) in the selected Russian advertising texts. In our opinion, the results obtained during the analysis are relevant to the development of text linguistics and linguoculturology. We hope this work will reveal cultural specificity of the emotion РАДОСТЬ (HAPPINESS / JOY) in Russian linguo-culture, and will contribute to efficient intercultural communication between the speakers of Russian and Chinese languages.

The paper is devoted to the study of the internal, “invisible” structure of the representative horseshoe of the concept SUPERSTITION in the Anglo-Saxon culture, reflecting the main categories of magical thinking. The novelty of this research is that it is performed within the framework of Theolinguistics, namely, in its section – Theolinguoconceptology [Postovalova, 2016]. For the analysis of the language representatives of the concept under study, the method of ontological concept analysis, developed by the author of the paper, is used [Stepanenko, 2006; Stepanenko, 2015. P. 185–195; Stepanenko, 2019. P. 467–488]. The history of the horseshoe is rooted in antiquity, dating back to the pre-Christian civilization. As an ambivalent symbol it is interpreted in terms of the pagan and Christian conceptual systems. The astronomical attribute of the pagan goddesses – the crescent moon – was translated into the language of the Christian theology with a change in the semantics of its symbol, thanks to which the Gospel story of the transcendental world is rendered into the immanent language. Modern culture reduces the sacral in the horseshoe to the level of a profane, a kind of simulacrum for mass consumption. The word horseshoe itself has not changed its shape over the centuries. As for its content, it has gone a difficult semantic way, cumulating both profane and sacral meanings and eventually turning into a wordmythologem, the smallest unit of the myth about the Good and the Evil. This mythologem is actualized in various legends, fairy tales, parables, telling about the magic of the horseshoe, which can bring both good and bad luck, and which can protect against the evil spirits or become an instrument against a man. Our research has shown that the word-mythologem horseshoe keeps on a peculiar framework the pillars of which are five logical ontological categories, the objective universal forms of magical thinking and being. Besides, the analysis of the examples with the word horseshoe allowed us to distinguish nine pairs of dichotomies, each consisting of two ambivalent concepts: assertion and its negation, thus creating antinomy, i.e. a logically unsolvable contradiction. This is but a favorable condition for the survival of the superstition associated with the horseshoe.

This article aims to compare the metaphorical representation of coronavirus in the Chinese and South Korean media. The theoretical basis of the research is Discursive Theory of Metaphor, which regards metaphor as an integral part of the discourse, as a cognitive frame that has functioned within the discourse over time. Critical Metaphor Analysis methodology (by Charteris-Black) is used to analyze metaphors. 750 headings and leads of coronavirus news reports in Chinese and 2000 headings and leads in Korean were used as the research material. The study found that the metaphorical models of the virus in Chinese and Korean media are practically similar: VIRUS is an ENEMY / OPPONENT; NATURAL DISASTER / PHENOMENA; LIVING BEING; REASON FOR FEAR. At the same time there are significant differences in quantitative distribution of metaphors and in metaphorical implications. By studying news reports, we can trace the models of public opinion formation in the framework of two distinct political systems.

The present article is devoted to the determination and analysis of the legal terms Marcel Proust uses to characterize different situations of bourgeoisie’s everyday life at the beginning of the second volume of his novel “In Search of Lost Time” (“À la recherche du temps perdu”) “In the Shadow of Young Girls in Flower” (“À l’ombre des jeunes filles en fleurs”). We shall apply the methods of lexical and semantic analysis as well as the methods used in stylistics, particularly in the theory of figures of speech (namely, Georges Molinié’s theory of macrostructural and microstructural figures of speech). We have identified a number of legal terms pertaining to the judicial process (“procès”, “juger la cause”, “erreur judiciaire”), the administrative (“notification”, “commissaire-priseur”) and civil law (“régime matrimonial”), the constitutional (“républicain”) and criminal law (“crime”, “criminel”) the author resorts to in order to describe different social situations. Thus, we have contributed to the studies of Marcel Proust’s language and style, the elements of his poetics being largely unexplored by the linguists despite a large number of books and papers on the writer and his works. We have analyzed special vocabulary through the theory of figures of speech, particularly legal terms that the author utilizes to represent the domains that are far away from those of law, such as art (theatre and literature) and all kinds of human and social relations in the bourgeois society. For example, the evaluation of Berma’s acting by the spectators and the estimation of Marcel’s literary aspirations are represented as a trial. Marquis Norpois’s aristocratic coldness and arrogance are described with the terms of administrative judicial procedure. In his pretentious speech, he uses a hyperbole based on a term of criminal law. His conservative political views are also represented through a term of constitutional law. Marcel’s attempts to get to know Gilberte’s family better are perceived by him as an unfair trial and, at the same time, as a crime. The term of the domain of the civil law indicates the importance of some types of social relations, particularly marriage, in the eyes of emerging bourgeoisie. Thereby, using legal terms from multiple branches of law as a part of different macrostructural and microstructural figures of speech, Marcel Proust in his novel describes different social relations, processes and phenomena.

Nowadays the ways to influence an audience by the rhetoric of public speeches are widely studied. The analysis of speech influence in institutional status-orientated discourse is a promising and actively developing area in modern Linguistics. The institutional discourse of the Spanish monarchy plays an important role in social relations in modern Spain. However, its features still have not been described in detail in Roman studies, especially in the linguopragmatic perspective. Moreover, due to the current socio-economic and political context it is extremely important to analyze what linguistic instruments Felipe VI uses to save the image of the Spanish Crown. The present paper deals with the public speeches of the Spanish King issued from 2014 to 2020 and focuses on the “external” addressee. Felipe VI’s messages represent a fundamental resource to create a favorable image of Spain in the international arena and to convince the world community of the necessity for peaceful coexistence and international cooperation. The speeches, which are ideologically driven and politically motivated, are analyzed in the context of linguo-pragmatics. The theoretical value of this paper is in providing an exhaustive analysis of speech strategies and tactics used in the King’s messages delivered abroad. Firstly, the country’s presentation strategy allows the monarch to emphasize that Spain belongs to the European Union and plays a crucial role in the international arena while making decisions and fighting challenges. Secondly, the emotional strategy is used to create a trustworthy atmosphere (mainly by appealing to the sense of pride) and to give moral support to Europeans and other nations. Thirdly, the interpretation strategy may be considered a conventional resource used to strengthen the institution of the monarchy in the eyes of the international community. Finally, agitation and argumentative strategies are employed to convince the addressee of the necessity to strengthen international cooperation.

The article deals with the problem of structural organization of liberal arts fragments in the diachronic world view. It considers the application of a prototypical approach to the knowledge categorization about the types and directions of culture and to the differentiation of the tools of their verbal representation in the metalanguage. The classification of the concepts “Renaissance” and “Baroque” under the criteria of modern linguo-cognitive science is proposed. The article provides definitions of prototypical and peripheral units of the categories analyzed and substantiates the differences in their significates. Special attention is paid to non-central category members, as well as to parameters that confirm their categorical status and place them in the general subsystems’ hierarchy. The study substantiates the polysemy of the terms “Renaissance” and “Baroque”, which is caused by the heterogeneity of the classes they represent. Based on the material of specific category units, it demonstrates the possibility of changing their positions as class members and analyzes the causes and consequences of their re-categorization. The article considers the problem of variability and openness of the range of the categories under study, as well as the criteria of their autonomy and integrity. It is shown that the category stability depends on the prototype identification degree and its differences from the central units in other classes. The main conclusions were obtained by analyzing the meanings of the investigated terms and identifying patterns of their attribution to the texts of the corresponding cultural stages. The study novelty lies in the application of cognitive analysis methods to the concepts and term units of the Humanities metalanguage. The research relevance is accounted for by the need to further study the semantics and functioning of interdisciplinary special units in poetics, literary history, art history, cultural studies, and aesthetics. It helps to distinguish the meanings and contexts of using names that are synonymous and antonymous.

One of the most famous works of aljamiado literature (literature in Spanish in Arabic script) is the Poem of Yusuf (“Poema de Yúçuf” in Spanish). The poem was written by an anonymous Morisco poet at the end of the XIII – the beginning of the XIV centuries. The poem is based on the most common plot among the Moriscos – the twelfth sūrah of the Qur'an. The poem includes a scene of lament at the grave, which is not found either in the Qur'an or the Old Testament. Researchers of the middle nineteenth century considered the scene original. However, later it was defined that the scene had appeared due to the influence of the Jewish apocrypha. Modern researchers called into question the originality of the scene and the poem itself. Nevertheless, in the lament scene, we can trace not only the influence of the Qur'an or the Old Testament Apocrypha, but also the traditions of pre-Islamic Arabic poetry [A1], which were developed in Al-Andalus. The objective of this study is to show this influence. Undoubtedly, the author of The Poem of Yusuf created a touching image of the protagonist, which was appreciated by the Moriscos. The beginning of the poem was borrowed by the author from another aljamiado poem. Despite the persecution of the Spanish Inquisition, the poem has survived in several copies. Together, they represent a combination of traditions of Islamic, pre-Islamic and Christian versification. The article also contains the text of the lament at the grave in the original (Arabic) script and its scientific transcription by V. Menendez Pidal. It also includes a modern Spanish translation made by G. Ticknor. Thanks to his publication, the poem became known as a unique example of “amalgam elements of Eastern and Western civilizations, which were later reflected in Spanish poetry.”

The purpose of the article is to try to clarify the genesis of the Russian anonymous version of The Spies’ March (hereinafter, the A-version), circulating along with its translations by Ada Onoshkovich-Yatsyna (hereinafter, AOY version) and Alla Sharapova, as well as textual variations on the theme of The Spies’ March by L. Kolosov and V. Kovenatsky. The textual problem is solved in close connection with the composition (consisting in comparing discourse schemes), translation, linguistic-statistical analysis of complete versions and fragments from them. It has been established that the A-version was not a remake of Kipling's original, but was based on Onoshkovich-Yatsyna’s translation. The purpose of the anonymous author-translator was to harmonize the content of The Spies’ March with its name, that is, to bring the theme of the glorification of real spies to the fore, to send them on a mission with a Proud flag in their hands, eliminating all semantic allusions to doctors (that is fighters against epidemics), which were implied by Kipling. Comparison of the A-version discursive scheme with that of AOY version shows that the uniqueness of its content and communicative attitude are achieved through a complex scheme of permutations, involving the new sequence of 33 lines out of 81 that constitute the poetic part of the AOY version. Herewith, all words (= text forms) of the A-version, with the exception of two, and those of the AOY version are identical. In other words, a cardinal semantic difference is created through manipulations, mainly at the discursive level, but not lexically. In parallel, the cardinal issue of the socio-cultural conditioning of this kind of reception is considered, the terminological signals of which in the article are refraction, adaptation, domestication and appropriation. Acting in the field of the receiving culture as a single complex of factors, they inevitably lead to the emergence of translation derivatives like a purely “spy” A-version of The Spies’ March, which break away from the original culture, from the literary environment, from the original text and are included in such a rearranged form in a new cultural mentality. It is even indicative that The Spies’ March for some mysterious reasons attracted the attention of a young Soviet woman-translator in 1922 and contrary to any “objective” logic: it did not enjoy increased attention in English-speaking countries and, as Thomas Pinney noted later, did not enter any of the authoritative anthologies of R. Kipling’s poetry. However, in Soviet Russia and later, his Spies’ March has given rise to a number of free, wild or professional variations all of which are meant eventually to bring tribute to this Rogue Bard (if not an Odd Duck) of the British culture sometimes accused of being more a writer of verses than a true Poet. The article is a direct continuation of the previous one, Bring us deliverance, spy, the title of which is a quote from The Spies’ March; reading them together provides a deeper understanding of the author’s intention. The paper includes three major parts: 1) Comparative textual analysis of the A-version with the complete AOYversion on which the first one is considered to be based since it “quotes” about 35 % of its lines, rearranging them in an extremely sophisticated way; 2) Comparative analysis of the versions’ language statistics including the number of words, number of characters with and without spaces, average word length, two indexes of text size conversion, namely, compression and expansion; 3) Discussion section which dwells on Kipling’s comparative place and reputation in the English and Russian (Soviet) culture. His artistic expression, in particular, his poetry has been and still is valued much more in this country than in England where he is now considered, first of all, to be an “imperialist and racist”.