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The article highlights the issue of choosing the titles of the works that make up The Story of a Life by K.G. Paustovsky and the general name of the cycle. The manuscripts, typescripts, and the writer’s correspondence, published only partially, allow us to trace the history of the search for the names of the third and fifth parts of the cycle and to establish their long-established working names — “Collapses of Time” and “Agitated Caucasus.” Materials from Paustovsky’s Collection in RGALI demonstrate that the sixth part was originally entitled “On Slow Fire (The Book of Wanderings).” The title was changed by the will of the editorial board of the journal “Novyi mir,” causing the writer’s regret. The expanded elements of the heading complex (the title, the epigraph, and the closely related framing parts) are characteristic of typescripts but do not always pass into the published text. Of the four parts that had epigraphs, only two have preserved them — the first and the last, and the framing parts remained unused. However, they are valuable because they shed light on the crucial concepts of Paustovsky’s works. The final titles of all six parts somehow convey the focalization of the character-narrator: his perception of the world, emotional state, and fixation of himself in time and space. Starting from the fifth part, as the manuscripts testify, the author correlates the new title with the titles of the already published parts, for which he makes peculiar lists.

The process of the birth of Russian cotton, reflected in the novel “Colonizers” by Boris Cheprunov, a descendant of settlers to the Turkestan region during the period of its conquest by the Russian Empire, is considered. Knowing the life of Central Asia from the inside - its languages, customs and culture, Cheprunov critically comprehends the process of colonization of Central Asia. The work of this writer fell out of the historical and literary process for political reasons; there was a fleeting attempt that did not receive continuation - without analysis, with half-truths, to return to him during the thaw period. The authors of the article do one more thing - to return to the history of literature of the twentieth century the work of a writer who was forcibly erased from the literary process. The purpose of the study is to highlight the theme of Russian cotton in the novel “The Colonizers” by B.V. in modern receptive practice. Cheprunova; objectives of the study: name the personalities and facts of the period of colonization of Central Asia who played a leading role in the birth of Russian cotton growing; highlight the colonialist intentions in Cheprunov’s novel; report the history of the publication of the novel “The Colonizers” and its tragic role in the author’s fate; consider the titles of the novel: one is the author’s, the second is given when the novel was published during the Thaw. The analysis of the article fits into modern Orientalist, or post-Saidian, scientific discourse.

The article conducts a comprehensive comparative analysis of the structural, semantic, and pragmatic features of scientific titles within Russian and English discourses. The relevance of the research stems from the need to identify modern trends in compiling scientific metatext across various linguistic and cultural communities, aiming to discover and implement the most efficient methods of encoding and disseminating scientific knowledge. The resultant findings could significantly enhance the overall quality of scientific work. The empirical basis for this study consists of article titles pertaining to linguistic matters, with Scopus and Web of Science editions providing the English examples, while the Russian equivalents are sourced from journals registered in the State Commission for Academic Degrees and Titles List. The criteria for the comparative analysis of the titles include a) qualitative and quantitative indicators of the lexical composition of the titles; b) methods of their syntactic organization; c) spectrum of the semantic dominants; d) design of the functional paradigm; e) degree and nature of expressiveness. Through this analysis, the authors identify several significant differences that shape the unique pragmatics of the aforementioned titles within their respective scientific domains. Among the most pertinent differences are the number and relative significance of the pragmatic functions carried out, giving insight into the linguistic mechanisms utilized at all textual organization levels.

Grimmsʼ fairy tales are fairy tales collected in German lands and literarily processed by the great germanists Jacob and Wilhelm Grimm. They were included in the collection «Children’s and Household Tales» (German: «Kinder- und Hausmärchen»), originally published in 1812. Thanks to their depth and wonderful plots, these fairy tales have not lost popularity for several centuries and are read with pleasure by adults and children. The purpose of the research was to identify and describe the structural and semantic features of the titles, formulated by the German storytellers. The relevance. In the modern world of information, the title requires comprehensive research, since it is a key element of the deep part of the text content structure and orients the reader in the world of literature and journalism. The scientific novelty. In linguistics there is no consideration of the titles in Grimmsʼ fairy tales, their semantic and structural features. The research material. The titles of the most famous and popular fairy tales of German storytellers from the Kinder- und Hausmärchen collection. In the research the general scientific and linguistic methods were applied: descriptive method, method of classification and systematization, elements of structural and semantic analysis and quantitative calculation. The scope of application. The research can be used in the study and teaching of the style of the German language, pragmatics and text interpretation. The results. The author names the structural features of the titles in Grimmsʼ fairy tales, gives a percentage of the number of title-words, title-phrases, title-sentences, lists their semantic features, focuses on complex words, talking names, numerals, appellatives, diminutive suffixes, as well as on the facts from the plot of the fairy tale that the reader can already learn from the title.

This article is devoted to the consideration of the titles of modern German-language novels after 1989, expressed by a substantive phrase, from the standpoint of structural analysis. The purpose of the study is to identify lexical-pragmatic potential of the most frequent models of titles. The phrase in the process of speech is not reproduced in its entirety, but is constructed by the speaker in the process of speech. This allows us to treat the phrase as a free lexical unit. The relationship between the components of a phrase is characterized by greater freedom than the relationship between the components of a compound word. This freedom is expressed in the possibility of replacing each full-valued word as part of a phrase with another word of the same class without losing the grammatical essence of the phrase. However, such grammatical unlimited compatibility is opposed to the limitations in lexical compatibility of words. In this regard, phrases differ from phraseologisms, which are characterized by lexical and grammatical idiomatic. The semantic integrity of the phrase is manifested in the semantic gravitation of the components towards each other. The presence in the phrase of the organizing core and its subordinate component confirms the thesis about the structural closure of the phrase. The relevance of this study is due to the special status of the phrase in the grammar of the German language and the rich pragmatic potential for creating successful communication between the author and the reader of novel literature. The results of the study revealed the characteristic features of the titles of the above type and identified a group of titles with greater intertextuality for further study.

The Slogan Function of Titles in Dmytro Dontsov’s Political Journalism The aim of this article is to analyse the function of titles of Dmytro Dontsov’s works and to prove the validity of the hypothesis of their “slogan” nature. Dontsov (1883–1973) consciously used a number of linguistic devices for persuasive purposes. The polemical nature of his political writings was also reflected in the titles he gave to his texts. In Dontsov’s works, one can distinguish a number of lexically, semantically, phraseologically, or metaphorically marked titles, which allowed us to hypothesise that many of the examined titles play a role similar to that of a political slogan. The analysed titles contain elements that make it easier for the recipient to assimilate their condensed message. We notice the conciseness of the message and the deliberate use of a number of linguistic, eristic and stylistic means. This leads to the conclusion that such a construction of the title serves, similarly to advertising or political slogans, to mobilise and motivate the recipient-reader. Sloganowa funkcja tytułów w publicystyce politycznej Dmytra Doncowa Celem artykułu jest analiza funkcji tytułów utworów Dmytra Doncowa oraz udowodnienie słuszności hipotezy o ich „sloganowym” charakterze. Doncow (1883–1973) dla celów perswazyjnych świadomie wykorzystywał szereg środków językowych, przy czym polemiczny charakter pism politycznych Doncowa przejawiał się także w tym, jak tytułował swoje teksty. W jego twórczości można wyróżnić szereg tytułów nacechowanych leksykalnie, semantycznie, frazeologicznie czy metaforycznie, co pozwala postawić hipotezę, że wiele z nich pełni rolę zbliżoną do hasła politycznego. Analizowane tytuły zawierają elementy ułatwiające odbiorcy przyswojenie ich skondensowanego przekazu. W tytułach Doncowa zauważamy zwięzłość przekazu oraz celowe użycie szeregu środków językowych, erystycznych i stylistycznych. Prowadzi to do wniosku, że taka konstrukcja tytułu służy, podobnie jak ma to miejsce w przypadku sloganów, mobilizacji odbiorcy-czytelnika do politycznej aktywności.

This article introduces the phenomenon of intentionality in media texts with a precedent phenomenon in the headline. The author studied the way intentionality develops, functions, and structures itself. Journalists often incorporate precedent phenomena into the media text to demonstrate their intention and creativity. However, the intentional nature of online texts is a major text-forming feature that makes the sender choose particular linguistic means to affect the addressee. The intentional potential of using precedents from different subject areas in media texts showed the following trends: the corpus of precedents expands, and precedent units redistribute themselves relative to the core and periphery.

Актуальность работы обусловливается ролью заголовка, имеющего несомненную ценность и определяющего структуру целого текста с трех основных ракурсов: семантического, формального и информативного. Заглавие придает единство тексту, где данный компонент занимает доминирующую позицию, что привлекает внимание читателя и создает бо́льшую восприимчивость текста. Цель – выявить общие и специфичные функции заголовков франкоязычных и русскоязычных беллетристических художественных произведений XIX в., а также структурные особенности и семантическую составляющую названий анализируемых произведений. Материалом исследования послужили тексты художественных произведений беллетристического жанра: «Парижские тайны» Э. Сю, «Петербургские трущобы» В. Крестовского и «Лондонские тайны» П. Феваля. Исследование проводилось с использованием комплексной методики, включающей следующие методы анализа: наблюдение, систематизация, структурный анализ, функциональный анализ, стилистический анализ. В данной статье рассматриваются и анализируются различные трактовки понятия «заголовок» отечественными и зарубежными учеными; определяется роль заголовка в тексте художественного произведения в целом и в анализируемых романах трех авторов – Э. Сю, П. Феваля, В. Крестовского; выявляются основные функции заголовка; классифицируются виды заголовков относительно их структуры, семантики и стилистического наполнения; анализируются тексты заголовков, иллюстративная зона которых выявляет причины сходства не только заглавий самих произведений («Парижские тайны», «Лондонские тайны», «Петербургские тайны (трущобы)»), но и названий глав. Заглавие – это неотъемлемая часть любого текста. Заглавие позволяет читателю увидеть основную проблему, идею произведения. События, происходящие в мире, нередко находят свое отражение в художественных произведениях, состоящих из множества сюжетов, объединенных определенными темами или подзаголовками. Эти подзаголовки раскрывают ассоциативные, эмоциональные и оценочные компоненты значения, являясь своеобразным планом произведения, где задействованы время и место событий, внешность и характер персонажей, образы, формирующие картину всего произведения. Любой заголовок представляет собой закодированный текст, включающий в себя некую подсказку, о чем дальше пойдет речь. Заголовок является отражением исторического и социального развития общества и замысла автора. Идиостиль авторов передает образ и дух эпохи, национальные особенности и языковую моду. В текстах заголовков используется лексика с различной стилистической окраской, каламбуры, разложение фразеологических единиц и другие стилистические приемы.

The paper examines in detail the history of the creation of “The Love Song of J. Alfred Prufrock”, as well as the methods of its research in Western and Russian literary studies. The author proposes to combine a careful reading of this text with the notion of this poem as a spiritual autobiography of Eliot, which has various dimensions: from personal, proper poetic to esoteric. Based on the analysis of the biography of the young Eliot, the poet's relationship with J. Verdenal, the history of the poem, the drafts, the final text, the title of the poem, the epigraph, the poem's place in the poet's work, Eliot's statements about “Prufrock” the paper identifies the parameters of the symbolism of this work, which, playing on Eliot's complex relationship with the inexpressible (having an ambivalent nature), extends to its composition (the relationship of “I” and “you”; the paradoxical nature of the ending), the system of images and motifs (Prufrock as a theatrical person, the opposition of the male and female world), the special sense of reminiscences from Dante, Shakespeare, Goethe, Walter Pater, Oscar Wilde, the philosophy of creativity as a mystery (Prufrock as a poet, combination of eroticism and mysticism, the theme of sacred crime) and love (homoerotic theme), genre (elusiveness of genre, Faustian beginning in it), symbolism and esoterics (“Prufrock” as a Masonic text on initiation, on life as theatre). The author gave a special place to the concretization of ekphrases (Michelangelo, Leonardo da Vinci, Burne-Jones), the content of which confirms the thesis that the poem has a text in the text.

Mongɣol-un niɣuca tobčiyan, the “Secret History of the Mongol,” is the only work of its kind from the era of the Mongolian world Empire, it has a complex history as a text but was originally written in (Middle) Mongolian. It is a linguistically very rich source, not only for the Mongols but for many other groups who are seen allied with or appear fighting against the Mongols, the latter bearers of the power of Eternal Heaven and of the potent sanction of the ancestors. Thus, in addition to overt political assertions to guide the new Mongolian Empire, and its rulers’ managers, and commanders, and containing carefully selected and crafted statements of events of myth and history. These are designed to buoy up the imperial state of affairs and Mongolian society in general, Adapted documents and even works of a literary character are among the devices used to this end. Given its nature, it is only to be expected too that the “Secret History” also is a rich source of a full history behind the scenes of told by the personal names and epithets, and titles of Mongols, but also the names, epithets, and titles of many non-Mongols who had military, political and diplomatic contacts with the Mongols in the early 13th century. These names, epithets, and titles tell entirely their own story. Thus, grasping their potential importance, these names, epithets and, titles have been studied by many researchers, from a variety of perspectives. Here, we, a Mongolist and a Turkologist, have banded together, to follow in the footsteps of these investigators who have gone before, offering our historical-comparative analysis of the related words inal/inanča/inaq, and their semantic and morphological structure, examined within a larger context of the “Secret History” and its monumental, literary linguistic and cultural world. Our analysis will be primarily based on the “Secret History,” but also on other historical texts and documents, as well as information offered by Mongolists, but also provided by those in closely related disciplines, in Turkology in particular, for example, this is only natural since Mongols and Turks closely interacted in building an empire, and the new, often mixed cultures that emerged from it.

This article analyzes the Swedish translation of the short story Continuidad de los parques, written by the Argentine author Julio Cortázar and translated into Swedish by the translator Jan Sjögren. This short story is an excellent piece of metafiction as it plays with the re­lationship between a fictional reader and the real reader. By creating an aesthetic illusion, Cor­tázar leaves the reader in a tense state with a number of unanswered questions during the rea­ding of the text. The analysis shows that this state of tension is weakened and works differently in the Swedish version of the story. By changing the title and other minor, but substantial, parts of the text, the translator transfers his interpretation of the text onto the Swedish trans­lation. The narrative structure is altered and, as a result, the reader of the Swedish version does not have access to the sa­me multiple interpretations afforded by Cortázar’s Spanish text.

The article deals with the I.S. Turgenevs last cycle Poems in prose which title has been changed several times throughout his work on it. The cycle put together the main aspects of writers previous creative works which led to the continuous search for the most suitable title to fully express authors intentions: from the original Posthuma which is focused on the life after death experience to the last Poems in prose which additionally underlines the uniqueness of the form used for Turgenevs last creative work. The study reveals the main theories on the cycles titles and the reasons behind their changes as well as suggests the own vision of the evolution of concepts after death and senile which are seemed to be bound in writers world view. The sequential analysis of the existing cycles titles undertaken in the current research finds the logic of Turgenevs title transformations where the fear of death is gradually replaced by the thoughts of future new life which will be continued beyond the Earth life. The significance of the research lies in the absence of the unified approach to the naming and understanding of the Turgenevs last cycle while the title of the book was considered to change the works perception even by Turgenevs contemporaries. The scientific novelty of the work is added by using the authors French edition of Poems in prose which up until now hasnt been studied properly. It allows to expand the material of the research and look thoroughly into Turgenevs strategy of naming his final cycle which was preserved for the foreign publication as well.

The article provides a comparative analysis of an electronic manuscript and a printed book by O.O. Suleimenov Word code. Introduction to the Universal Etymological Dictionary 1001 Words. The similarities and differences in semantic and stylistic nominations of titles and paragraphs in the manuscript and in the printed original are considered. Structural and qualitative differences in the content of the new titles of the book, the peculiarities of the semantic advancement in them, which include a brief reflection of the content of the corresponding section of the study, are revealed and analyzed. The analysis and thesis description of new paragraphs, which were introduced by the author after working on the electronic manuscript of the book, are carried out. The main conceptual approach of O.O. Suleimenov to the search for the ancient primary source of the word (etymon) and writing both in the manuscript and in the original of the book, is to consider in unity, in close interconnection, the main five aspects of a scientific problem: figurative image (drawing, hieroglyph), concept, word, meaning, pronunciation linguistic unit in languages, adverbs, dialects, dialects in antiquity and now, their semantic and sound similarities and differences in different regions of the earth. The evolution of the wording of the titles and the semantic and stylistic advancement in them is significant, which is associated either with a slight lexical change in the wording of the title of the paragraph, or with the introduction of a different (updated) title, or with the introduction of a new paragraph into the structure of the book. These innovations of the author contributed to the improvement of the structural and logical-content significance of the book.

The article discusses the basic guidelines for writing titles of articles intended for publication in scientific journals. The relevance of the topic touched upon in this article is due to the fact that currently teachers are faced with the need to train master degree students at both linguistic and non-linguistic faculties to write scientific articles in English. The title is a very important part of the article, since it presents in a concise form the main information about the content of the publication. A well-formulated title can interest the reader and make him or her eager to read the article. On the contrary, titles which are too complicated to understand, cumbersome, and vague are unlikely to attract attention and arouse the interest of a potential reader. The aim of the study is to provide an overview of guidelines for writing titles that can be found in the English-language literature. The author also analyzes the typical mistakes that Russian-speaking authors make when writing titles of articles in English. Research methods include analysis, description, observation, comparison. The results of the study showed that the most common causes of errors in the formulation of titles are linguistic interference and ignorance of the peculiarities of the English-speaking communicative culture related to written communication in the scientific field. It is concluded that the course «Written academic communication in English» should be included in the Master course program, which will familiarize students with the main features of scientific articles in English and teach future authors to correctly formulate the titles of their publications.

Based on theories in pragmatics, rhetoric, argumentation and discourse analysis, the genre of “journalistic film review”, relatively little examined, has been analysed in this paper as a discourse reflecting a justified assessment. Our analysis, presented as a case study, concerns the persuasive function of the titles of 53 French and francophone film reviews. In this analysis, the act of persuasion, anchored in Perelman’s (1971) concept of argumentation, corresponds to the rhetorical structure of public discourse. For the act of persuasion, we focus on discursive and stylistic parameters related to the rhetorical principle of “movere” as the basis of the film review’s deliberative (advisory and justifying) dimension. The role of this dimension is to invite the addressee to co-create the meaning of the discourse through the process of co-schematisation, implemented with the help of emotional argumentation in the form of appraisive and affective lexemes. These stylistic devices also constitute a mechanism of persuasion typical of advertising discourse.

The article is devoted to the analysis of abbreviations used in online news media. The relevance of the study is because the structural, thematic, and functional characteristics of abbreviations are considered in direct connection with the features of online media. The material for the study was 500 abbreviations obtained by continuous sampling from the most cited Russian online news publications. The main research methods were the method of continuous sampling, semantic, functional, and thematic analysis. Based on the already existing thematic classifications of abbreviations, the authors identify nuclear thematic classes related to areas relevant to modern society. As a result of the study it was found out that online news media use abbreviations from such thematic areas as politics, economics and finance, the legal sphere, government bodies of the Russian Federation, the military sphere and the media. In the texts of military subjects the use of digital abbreviations, both in Cyrillic and in Latin, was recorded. The study found out that abbreviations are used in the titles of articles without any explanation of their meaning. The meanings of abbreviations are explained in the texts of the articles. It has been established that the presence of abbreviations in the headings of texts is a consequence of the manifestation of the nominative and compressive functions of abbreviations and is due to the constant change of information in online news media. Functional analysis of abbreviations showed that abbreviations in Internet media texts can be used as a means of manipulation. The inclusion of abbreviations with unclear semantics in the headings and text of Internet news articles, without further interpretation of their meaning, creates an informational background around the event, but does not allow the average recipient, to whom the Internet media is oriented, to fully appreciate the ongoing event.

The compositional characteristics of the English cooking recipes dating back to the second half of the 19th century were analyzed in detail using the Book of Household Management compiled by Isabella Mary Beeton (also known as Mrs Beeton), a famous Englishwoman, and published in 1861. Owing to the growing interest in the gastronomic discourse, this research is of particular relevance – although the language of cooking is rich, its specifics and evolution have been still understudied. It was found that the soup recipes from the book under consideration have such structural elements as titles, ingredients list, main bodies, and, in some cases, optional elements. All of these elements were described. A classification of the obligatory and optional elements was introduced. All recipe parts (in accordance with P.P. Burkova’s classification) were divided into introductory (title, list of ingredients), instructive (recipe body), and concluding blocks (time and money required for cooking, seasonality of ingredients, number of portions, information about the history of a particular ingredient). It was concluded that the structure of the English cooking recipes of the second half of the 19th century is stereotyped, which can be explained by the author’s ambition to make it easy for young and unskilled housewives to master the art of culinary and housekeeping.

The specificity of the heading-final complex of Anna Akhmatovas Poem without a Hero (Poema bez geroya) is based on the fact that the semantics of the components included in it refers to several sources at once, and allusions to the works of English romantics, authors of poems, play the most important role among the components included in the poem's frame, and above all to J.G. Byron. The relevance of the undertaken research is due to the application of an integrated approach to the analysis of the elements of the frame text Poem without a Hero: not only primary, but also secondary and tertiary allusions, playing with the readers perception and his knowledge of predecessor texts are considered. The purpose of the study is to identify the English trace in Poem without a Hero and the ways of its manifestation through the heading-final complex. The authors trace the genealogy of Poem without a Hero from Byron to Pushkin and to the nominally absent, but implicitly animated, hero of Akhmatovas poem. Research objectives are defined as the study of the framework text as an essential element of the poem, identification of the features of the frame text and its intertextual links, comparison of epigraphs in the poem with notes, comments and critical articles of the author. The authors show that the poet often hides Byronic allusions in the reception from Pushkins poems (mainly Eugene Onegin), placing them in the heading-final complex. The article proves that this technique is used by Akhmatova to build the genre genealogy of her own poem, which goes back to the tradition of English romantic poems, mediated by the tradition of A. Pushkin. The reason for turning to this tradition, according to the authors, lies in the tragic personal and epoch-making collisions, the genre interpretation of which could become the transformed Akhmatova canon of the romantic poem, the founder of which was Lord Byron.

The article is devoted to the linguo-pragmatic analysis of the titles in the Internet media discourse. The research is based on 300 English titles of YouTube programmes devoted to Donald Trump and his activities that were uploaded within the period of 2016 to 2020. The aforesaid titles are considered as minitexts possessing the whole set of basic characteristics typical of the traditional language units of textual format. The authors take the premise that a title reflects all the functional and pragmatic features of the material it refers to, however, due to its small volume it proves to be more beneficial for eliciting the ways how linguistic and discourse means interact in the process of text production. The research is carried out with the help of the following methods: discourse analysis, interpretative analysis, descriptive method including functional and stylistic identification techniques. The contextual analysis of the selected titles contributes to determination of the focal points of the public interest concerning the figure of the American President on the one hand and it also helps to discover the trends within the public attitude evaluative vectors on the other hand, which prove to be outspokenly critical. Further on the linguistic peculiarities of the mini-format titles are studied in view of their lexical, syntactical and expressive specific features. All the data obtained is systematized in terms of a multi-level framework of language means expressing the public attitude to the figure of the American President. What is more, the ways of enhancing the pragmatic effect of the titles are elicited with regard to the extralinguistic factors such as the particular target audience, the specific communication setting and the channel of transmitting information.

The study of the title of a literary text as a key element of the information structure of the text is inextricably linked with the problems of the status of the title of the text, its position in a text, the functional specifics of the titles of literary texts and the definition of a subtext. Active study of these issues began in the XXth century, when the text began to be considered by domestic and foreign scholars (I.V. Arnold, N.D. Arutyunova, V.A. Kukharenko, Y.M. Lotman, P. Reeker, etc.). From the point of the theory of its interpretation and also after the appearance of the theory of text information structure by I.R. Galperin. Different views of researchers on the definition of the phenomenon of a subtext, the status of the title of a text, the functional specificity of the titles of texts of different genres indicate the complexity and interdependence of all above issues. The scientific significance and relevance of the issues of understanding and interpretation of the title of the work of art as a key element of the text information structure remains debatable these days.

Prayer is a multifaceted phenomenon of the humanitarian paradigm of thinking: prayer is a genre of fiction, a fideistic text, a genre of confessional communication, a folklore text. The relevance of the article is conditioned by the need of studying of the folklore texts of Bukovinian dialects. The purpose of the article is to analyze the folk apocryphal Bukovinian prayers, known in many variants, which are folklore texts. Research methods. In the article as the main general scientific methods of analysis and synthesis are used, as well as linguistic – method of linguistic observation, descriptive, comparative and historical methods. Conclusions. In Bukovina apocryphal prayers about the suffering of Jesus are well-known. They belong to the motivational prayers, prayers-calls, which don’t contain an appeal to higher power, but on the contrary, God’s appeal to people, which corresponds to the scheme якщо..., то. In folk tradition the prayer is called очінаші, молитви and usually functioning as a plural noun. The motif of continuity of prayer, which is characterized by a stylistic figure of anadiplosis, is realized in prayers. The naive picture of the world of dialect carrier interprets biblical information. Prayers are as close as possible to the realities of the Bukovina region, as a result of which in folklore texts there are tokens that denote the landscape, the life of the bearers of Bukovinian dialects, for example, tokens which denote kinship. Folk consciousness on the basis of folk etymology creates a kind of linguistic pattern of poetic lines. The textual reception of prayers is a dialogue between the Mother of God and Jesus Crist. Phonetic, lexical, morphological features of dialects are reproduced in prayers.

The article examines semantic, compositional, and generic specificity of poetic titles in Crimean Tatar classical poetry at the beginning of the 20th century, exemplified by the literary heritage of the poet and publicist Dzhemil Kermenchikli and his contemporaries Noman Chelebidzhikhan, Bekir Chobanzade, Mehmet Nuzhet, Mehmet Niyaziy, Hamdi Giraibay, Husein Tokhtargazy, and Abdullah Lyatifzade. The study highlights continuity of topics, ideas as well as literary strategies in the works of the mentioned the authors. The purpose of this work is to classify and describe the functions of the title as a key to understanding the plot and ideology of the literary work. The author of the article explores important traits of Dzh. Kermenchikli’s work as well as his inclination to discuss such problems as class inequality, the importance of Muslim enlightenment, and linguistic vicinity of Turkic peoples. An analysis of the dialogical, polylogical, and monological discourses of the titles by Dzh. Kermenchikli testifies to the expressivity and conceptuality of his poems with a strong social content as well as it means to communicate with the reader and to influence her emotionally and its psychologically.

In the article the titles of Olga Kobylyanska's small prose through the prism of a cognitive- pragmatic aspect are described. As a first representative of a work the title is of great importance, because it carries encoded informa- tion, adjusts the reader to the theme, idea and rhyme of the work, creates a background for his perception. The relevance of the artic- le is determined by the need of further in-depth study of Olga Ko- bylyanskaya idiostyle in order to form a cognitive-pragmatic conc- eption of the writer's artistic discourse. The novelty of scientific exploration is conditioned by the fact that the titles of Olga Kobylyanska's works of small prose, written at the turn of the 19th - 20th centuries, have not yet been the subject of analysis. The purpose of the article is to analyze the titles – ordinary signs of Olga Kobylyanska's works. Research methods. In the article as the main general scientific methods of analysis and synthesis are used, as well as linguistic – method of linguistic observation, descriptive and structural methods. Conclusions. Among the names of Olga Kobylyanskaya's small prose works there are three types of titles: ordinary signs, complicated signs, figurative signs. Usually, the name of a work depends on the type of information presented in it, on the form in which the author wanted to express a particular opinion – explicitly or implicitly. Among the names of the works – the usual signs we highlight a group motivat- ed by the social origin of the main characters: "The Beggar", "The Aristocrat", "The Villein". Some titles of the works indicate the time and place of action, thus implementing the idea of chronotope: "In St. Ivan", "Time", "Bank rusticalnyi". We distinguish a series of works in which the titles indicate the object of lyric hero admira- ration: "Roses", "What I loved", "Poets".

The paper provides a detailed analysis of the features of the title of V.V. Nabokov's story “Tyrants Destroyed” as an example of the iconic sign in the light of the theory of language-game poetics. The study is highly relevant, because it offers a new way to describe the features of the title text based on language game. By considering the title as an iconic sign we focused on its semantic, syntactic, and pragmatic features. The title of the story under study is as an autosemantic element and an iconic sign that will be deciphered in the text, but carries important prior information. To describe the peculiarities of the title, we used the theory introduced by Ch. Morris on the triple essence of the sign. According to this theory, the title was considered as an iconic sign: its semantics, syntactics, and pragmatics were described. The semantic and syntactic analysis of the title revealed its bipolar structure, which is generally expressed as “counteraction to action”. With the help of the pragmatic analysis, the role of inclusions in the text in the form of multiple repetition of the name Hamlet was determined. Based on the data obtained by the semantic and syntactic analysis, we concluded that the allusion emphasizes the playful nature of the text and refers to the title, which acquires an additional connotation. The introduction of the precedent name Hamlet not only helps to decode the semantic content of the title, but also reveals V.V. Nabokov's critical point of view on another text – the tragedy of “Hamlet” by W. Shakespeare.

The article analyzes the most tragic work of Ivan Shmelev about time at the end of the Civil War in Russia, about the “epic” The Sun of the Dead. The tragedy of the story that is in its title gradually grows and intensifies in accordance with the dynamics of the plot action, realized in the motives of survival-dying and impending apocalypse. In the picture of the dying world, animals have an exclusive role, they are destined to be the first to go for sacrifice, whether they are birds (peacock, eagle, hawk, pigeons, etc.) or domestic animals (horse, cow, dog, cat). In the development of their characters, a special function is performed by zoonyms that allow each of them to be personified and to emphasize the value of the life of any being.

This article attempts to determine the pragmatic potential of the titles of the novels of contemporary English writer Julian Barnes. A title has a key position in the main body of the work of fiction. It does not only convey in a concentrated form the main theme or idea of the work, but also has a special pragmatic potential that causes a certain emotional reaction from the reader. That is why writers attach great importance to the proper choosing of titles of their works.

The article examines somewhat understudied poetics of titles of 1920s–1930s books by Kalmyk poets. The titles of Kalmyk authors’ poetic books mirrored а new era in historical, literary, ideological, artistic, thematic, and sociocultural perpsectives. The formation of Soviet Kalmyk literature at this stage demonstrates is characterized by that many poets turn to the method of Socialist realism, to the ideology and policies of the Soviet state expressed in the spirit of the time through poetics of books.

This article is a theoretical reflection over the practical experience of translating into Italian the Notes from underground by F.M. Dostoyevsky. The translator is also the author of this article. The need for a new translation was based on the fact that having compared different available Italian translations, while reading the text in group following the principles and techniques of analysis of the reading method “from subject to subject”, it became obvious that some important and very exact words of the author had been translated carelessly. Furthermore, it became evident that sometimes Italian translations are so different from one another that it seems readers are coping with absolutely different texts. As the chosen reading method allows entering the depth of the text and listening to what is told by the author himself, the scale of the problems connected with translation became obvious: inexact translation choices influence first of all the level of the text the author himself speaks. In the article are given and analyzed several examples of the kind of problems the translator had to solve, and it is shown that when the translator precisely understands the problem he is due to face relatively to the meaning that the author put in the text, the solution of the problem is often possible without having to use commentaries. The examples deal with the problem of translating the title, with how to translate more or less hidden bible quotes and with the problem of deciding whether to translate or simply transliterate the proper names of the main heroes. It is supported the thesis that the translator should work to find translation strategies that aim at translating precisely the author’s word without revealing what the author has intentionally decided not to say in an explicit way.

Copyright of Acta Polono-Ruthenica is the property of University of Warmia & Mazury in Olsztyn and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Polono-Ruthenica is the property of University of Warmia & Mazury in Olsztyn and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper the authors compare the two versions of the poetic dedication to P. A. Vyazemsky written by E. A. Boratynsky, the first one appeared in Pushkin’s “Sovremennik” magazine in 1836, the other one was published in Boratynsky’s book of verse “Sumerki” in 1842, and the untitled poem by V. V. Mayakovsky which appeared first in the book “Ya!” in 1913 and then in “Prostoe kak mychanie” in 1916. The transformations of the poems changed not only the meaning of the text but its function and played an important role in constructing of the artistic entity of the books. The authors pay attention not only to the minor changes of the text but also to the editorial and book printing details which are not less important for the meaning of the whole book. [ABSTRACT FROM AUTHOR]

The communicative situation of an oral existence (statements playback) olonkho in the Yakut folklore has not yet been the independence object of study, researchers have fixed their attention on it, and left almost no full descriptions of these situations. Therefore, today, when the public decides the problems revival of the narration of folk tales of the Olonkho traditions, the problem is the source. In the article authors on the example of the analysis of one work put forward idea that as a reliable source for reconstruction of a context of narration of the epic in the XIX-XX centuries. It may be recognized as individual works of Yakut writers-realist of the pre-revolutionary and Soviet periods. The main method of analysis defined in the cultural-historical approach, which allows you to explore the product in its relationship with the historical tradition and social environment. When studying the topic «olonkho and olonkho-teller» further use contextual and functional analysis techniques. The authors found that in the novel, consisting of a chain of 42 event-scenes the main character›s life, the theme of «olonkho and olonkho-teller» disclosed in eight episodes, runs through the entire work. The study of the sources shows that the prototype olonkho-teller characters are historical figures Tatta and Vilyuysky regions, who lived in the late XIX - early XX centuries. Scenes analysis of oral performance olonkho the parameters: the characters, time, place, situation performance allowed to disclose that the product is not fixed calendar olonkho confinement performance. It is executed when the circumstances in any season: spring, summer, autumn and winter. The place of performance of the epic works in all scenes depending on the season is winter or summer type of dwelling. Olonkho is performed in the narrow circle of family or neighbors in the presence of the traveler. Traveler is a story-teller or the listener. In the story discovered the functioning of the title of olonkho in oral communication. On the basis of its analysis, the authors argue that the title of the text in this case serves as a substitute for the text and suggests that the customer olonkho and its performers have common cultural presuppositions, are carriers of one epic environment that the customer knows the repertoire of epic story-tellers. In the context of oral communication using the title of the text varies. It is as the case may be complete, incomplete and brief. As a result, it should be noted that Reas Kulakovsky’s story «Agam ologo” is a historical work, which should be considered as folklore and ethnographic source.

There was no accident in appearing of honorary citizenship class in Russian empire in the end of 18 century. It helped to solve several problems: removal of social tensions, integration problem of other worship and new ethnic groups, choosing people and giving them special privileges for the benefit of Russian state. Advantages of eminent citizens written by Katherine the 2nd in letters patent were: exemption from corporal punishment, conscription, ability in owning country yards and gardens (except for populated estates), moving around city in a carriage pulled by 2 or 4 horses. Titles of eminent citizens were inheritable. Grand children of eminent citizens who were bearing the title blamelessly could ask for nobility on reaching 30 years old. In 1832 Emperor Nikolay the 1st established manifest about class of honorary citizens. Honorary citizens were divided in personal and hereditary. Morozovy, Ryabushkinky, Guchkovy families were the famous representatives of this class. The title of honorary citizen was removed by VCIK and CNK decree from November 11 (24) 1917 about abolition of classes and civil officials. Soon it was decided (on the similar principals) to reward honored citizens with honorary citizen title for the benefit of the city. New title establishment not only helped to solve the problem of national scale but also encouraged the development of patronage, culture, science and municipal administration system in the whole Russian economics.

The article deals with the content planning of the discipline "The Modern Ukrainian Language of Mass Media". Its importance and inscription in the general educational process at the specialty "The Journalism" in accordance with the curriculum of the specialty are substantiated, the key directions and problems that need attention of future journalists are outlined. "The Modern Ukrainian Language of Mass Media" is a course that integrates linguistic and cognitive, communicative, semiotic, and other approaches to considering the functioning of the state language in the media. Such an approach involves consideration of a number of linguistic problems, in particular spelling (the spelling debate in Ukraine, peculiarities of the transliteration of foreign language names, the types of journalistic texts compositions, longevity, tricksters, etc.), cognitive problems, for example, the language game in the media, the gender aspects of the language of the media, the problem of hate-speech etc., as well as communicative approaches, in particular, the theory of communicative acts, the working with different types of information, fact cheking, the linguistic specifics of social networks, etc. The offered academic discipline is simultaneously propaedeutic for further journalistic disciplines, as well as the summary for the "language block of journalistic courses" – the disciplines "The Practical Ukrainian Language", "The Stylistics and Culture of the Ukrainian Language", etc.

The title of autokrator first appeared in the Rhomaian Empire (Byzantium). Translated as samoderzhets, it was taken up by Slavic countries that followed Rhomaian tradition. Taking as her starting point the indispensable 1935 work by George Ostrogorsky Autokrator and Samoderzhets, the author has analysed similarities and differences in the development of the title of samoderzhets in Serbia and Russia. Three phases have been analysed, of which the first two in more detail: the beginning of the use of this title; the development of the title and its significance; the diverging of the ways of Serbia and Russia. The first phase shows that the adoption of the title in both countries is preceded by both an increase of the country’s actual power and the improvement of its position among other Christian (Orthodox) countries. A significant difference appears in the second phase: Serbian kings have used the title of samoderzhets, but it was no longer in use after Stefan Dušan’s coronation as Emperor; after the fall of the Empire, Serbian rulers began to use it again. In Russia it was the other way around: the use of the title was more frequent after Ivan IV’s coronation. It seems that the title was mainly used in Serbia to underline independence where there was no obvious proof for it, and thus was not needed during the Serbian Empire, while Russian rulers, on the contrary, used it only when they had earned it through the actual power of their country. In the third phase both countries abandoned the Rhomaian model. Russia turned to Western models from the time of Peter I, while the development of Serbia was interrupted by its fall under Ottoman rule.

The paper is devoted to the analysis of the decline of polysemy of the lexeme naslednik (наследник 'heir') and its derivatives. In accordance with the purpose of the study, the following objectives have been set: to describe the semantic structure of the studied lexeme and its derivatives in the historical perspective for the considered time intervals; to trace the major changes in the morphemic and semantic structure of words; to describe the potential of the studied lexemes in terms of education of phraseology. The following methods have been used to achieve the above objectives: lexicographic analysis, derivational analysis. Particular attention has been paid to the connotative content of the investigated words and to the peculiarities of their use in artistic and religious texts, legal documents and publicism. Based on the results of the study, the following conclusions have been made: in the Ancient Rus, the lexeme was polysemantic and used in the domestic and religious spheres. In the 18th – 19th centuries, the polysemy of the lexeme developed in politics and law. In the 21st century, the word again, as in the pre-Petrine era, was basically used in the meaning of preemnik (преемник 'successor'). The paper gives a number of examples proving that in the era when the title naslednik was common this lexeme acquired a different meaning, i.e., the heir of property, in legal documents. In speech, the usual nominations of naslednik and naslednitsa (наследница 'heiress') functioned (heirs to the traditions). The obtained results are important for further study of particular sections of etymology, historical lexicology.

The research on the well-known Ottoman sources, “The Book of Travels” by Evliya Çelebi and “Stating the Essence of Laws of the Ottoman Dynasty” by Husen Hesarfen, shows that their data have not been introduced into the scientific use. However, these data are unique with regard to the political history of Circassia in the 17th century, which was a decentralized monarchy of representatives of nobility in the form of a federative princely republic. The data obtained from the Ottoman, Russian, and European sources allow to analyze the status of the representatives of the ruling princely dynasty of Inaledes in Circassia, as well as to disclose the international and legal status acquired by them in the 17th century. The paper is devoted to the analysis of the Ottoman-Circassian-Crimean relations in the light of the Ottoman doctrine that connected the confessional supremacy with the military and political one. It has been revealed that the relations in the military and political spheres played the key role in contrast to the confessional ones. This conclusion is confirmed by the facts of a fierce confrontation between the most early Islamized territories of Circassia, including Kabarda, Bzhedugia, Besleney, Hatukai, and Zhaney, and the Ottoman-Crimean coalition, despite they must have been regarded to as “countries of Islam” (dar al-islam) according to their political rhetoric. In that period, the Ottoman-Crimean coalition demanded mostly a military alliance following the adoption of the Islamic faith as their official religion, whereas the Inaledes refused to accept the fact that the religious community should grant any military, political, and economical rights to sultans and Crimean khans in Circassia. Such discrimination between the confessional and military-political factors shows that the military-political aspect played a more important role in the relations with the Circassians than the confessional one for the Ottoman-Crimean coalition in the Caucasus. This is precisely why the whole territory of Circassia in the 17th century, excluding that of the Zhaney (some of its princes had suzerain-vassal relationships, while the other ones were allies), was a “country of war” (dar al-harb).

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The title and text of Lomonosov’s spiritual Meditation is considered within the system of an integrated context of meanings. The role of the title is identified through its connection with the structural and semantic framework of the poetic plot.

The main prerequisites and principles of establishment of new mechanism of management of social-labor relations in housing and utilities on the grounds of professional standards have been disclosed. Their principle difference from existing system of management of social-labor relations based on qualification references and method of development of professional standards have been shown.

The article deals with the notions of the primary and secondary texts. The author states the main characteristics of the titles of both primary and secondary texts, demonstrating their intertextual relations. The titles of the texts under analysis are personal names which are considered from the symbolic and historical points of view.

According to the news by Niketas Choniates, at the time of Alexios III Angelos the sebastos title was sold at a low price to everyone who wanted to buy it. That news has been connected to the fact that at the end of the 12th and in the early 13th century there was a noticeable emergence of the local aristocracy members holding the title of sebastos. The work casts a special emphasis on the analysis of the sebastoi mentioned in the writings of Demetrios Chomatenos, the archbishop of Ohrid. [Projekat Ministarstva nauke Republike Srbije, br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]