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Purpose. The proposed article is devoted to linguistic intensification (intensity) in the German poetry. In this paper, the main lexical and phraseological means of expressing the amplification of meaning are considered, the structural and semantic characteristics of the intensifiers are presented and their stylistic potential is also established. Methods or methodology of the work. The basis of the research is formed by the continuous sampling method in the selection of practical material as well as the method of descriptive linguo-stylistic analysis. Results. The results of the study showed that the intensification of expressiveness and expressiveness of meaning, as well as the effectiveness of utterances can be achieved by lexical units (adverbs, adjectives) and a number of phraseological units (comparative constructions, paired combinations of words, prepositional-substantive language units), which serve potential function being a powerful linguistic tool in expressing emotions, feelings, state of mind, will of romantic poets. Application area. The results of the research can be used in the teaching of such linguistic disciplines as lexicology, phraseology, stylistics, as well as in translation activities.

В статье дается описание цветообозначающей лексики в поэтических текстах даргинских и русских поэтов. Анализ цветовой лексики в даргинской и русской поэзии дает возможность запечатлеть пеструю цветовую картину мира поэтов. Творчество А. Пушкина, М. Лермонтова, М. Цветаевой, А. Ахматовой, даргинских поэтов О. Батырая, Г.-Б. Багандова, Р. Рашидова и др. отличается любовью к чистым и ярким краскам. Цветовая гамма способствует передаче тончайших настроений, придает романтическую одухотворенность, а также необычность и свежесть образам. Любимые цвета всех поэтов – красный, синий, зеленый, черный и белый. Эти цветовые тона усиливают ощущение страсти, любви. Цветовая гамма способствует передаче тончайших настроений, придает романтическую одухотворенность, а также необычность и свежесть образам. Любимые цвета всех поэтов – красный, синий, зеленый, черный и белый. Эти цветовые тона усиливают ощущение страсти, любви. Употребление цветовой лексики помогает поэтам не только ярко и живо описать происходящее в произведениях, но и более натурально и точно передать образ и характер героев, описать пейзаж. Каждая сцена получает свою неповторимую характеристику именно благодаря использованным для их описания цветам. Цветовая лексика в творчестве даргинских и русских поэтов – это способ образного осмысления действительности, что свидетельствует об определенном художественном способе представления мира. Использование данной лексики подтверждает их высокое художественное мастерство, раскрывает особенности языка и стиля., The article describes the color-signifying vocabulary in the poetic texts of Dargin and Russian poets. The analysis of the color vocabulary in Darginian and Russian poetry makes it possible to capture the motley color picture of the poets’ world. Creativity of A. Pushkin, M. Lermontov, M. Tsvetaeva, A. Akhmatova, Dargin poets O. Batyr, G.B. Bagandova, R. Rashidova is distinguished by love for clean and bright colors. The color scheme contributes to the transmission of the finest moods, gives romantic spirituality, as well as unusual and fresh images. The favorite colors of all poets are red, blue, green, black and white. These color tones enhance the feeling of passion, love. The color scheme contributes to the transmission of the finest moods, gives romantic spirituality, as well as unusual and fresh images. The favorite colors of all poets are red, blue, green, black and white. These color tones enhance the feeling of passion, love. the use of color vocabulary helps poets not only vividly and vividly describe what is happening in their works, but also more naturally and accurately convey the image and character of the characters, describe the landscape. Each scene gets its own unique characteristic, thanks to the colors used to describe them. The color vocabulary in the works of Dargin and Russian poets is a way of imaginative comprehension of reality, which indicates a certain artistic way of representing the world. The use of this vocabulary confirms their high artistic skill, reveals the peculiarities of the language and style.

This special issue of the Journal of Sufi Studies attempts to make the case that the act of translation is best seen as a recurrent activity necessitated by the various changes that inform the interpretation of Sufi texts on the one hand, and the languages and cultures that receive them on the other. The nine Sufi texts featured in this collection illustrate the diversity of genres and variety of languages in which they have been written, thereby pointing up the distinctive hermeneutic potentials of translation theory and practice when these texts are rendered by experts into modern European languages, particularly English and French.

RESUMEN El estudio tuvo por finalidad determinar si la aplicación del método AIV (análisis, interpretación y valoración) efec- tiviza la comprensión lectora de textos poéticos en estudiantes de la Universidad Privada del Norte. La investigación fue de tipo aplicado, explicativo, cuasi experimental transversal, hipotético deductivo y cuantitativo. La muestra fue de 45 estudiantes para el grupo experimental (GE) y 46 para el grupo control (GC). En ambos se enseñaron los mismos contenidos, pero el método se aplicó al GE, mientras el GC trabajó con la metodología habitual. El resultado indicó que los promedios alcanzados por el GE fueron más altos en relación con el GC. En consecuencia, se rechazó la hipótesis nula. Se concluyó que existen diferencias significativas en la comprensión lectora de textos poéticos del GE antes y después de aplicar el método AIV. ABSTRACT The purpose of this study was to determine whether or not application of the AIV method (analysis, interpretation and assessment) improves the effective reading comprehension of poetic texts among students at Universidad PrivadadelNorte. The research applied was of an explanatory, quasitransversal, hypothetical, deductive and quantitative nature. The sample was composed of 45 students for the experimental group (GE) and 46 students for the control group (GC). The same content was taught to both groups, with the AIV method applied to the GE group, while the GC group worked with the standard methodology. The result indicated that the grades achieved by the GE group were higher than those of the GC group. Consequently, a null hypothesis was rejected, and it was concluded that there were significant differences in the reading comprehension of poetic texts in the GE group before and after application of the AIV method.

The main subject of study in this article is the internal conflict of the tragedy of A. S. Pushkin “Mozart and Salieri”. The object of the study is the rhythmic composition of the text in a broad sense, including the alternation of replicas of the main actors and the so-called “musical replicas” introduced by the author’s remarks. They are considered in the historical and cultural context of the rhetorical tradition, the oblivion of which inevitably led to the subsequent “recoding” of the semantic constants of the text of the tragedy. The paper questions the stereotype of Mozart as a protagonist and Salieri as an antagonist in the development of a tragic conflict. The proposed critical, and later literary reconstructions of the internal logic of the origin and development of the conflict in Mozart and Salieri are devoid, in our opinion, of the most important component – tragedy, assuming the fundamental insolubility of the dramatic conflict. This fact is one of the reasons for the “genre rethinking” of “small tragedies” in the studies of the last quarter of XX – early XXI centuries, the desire to see them in the connection (and even the displacement) of the dramatic view of the world lyrical or epic. Additional motivation for a new interpretation of the tragedy is the fact that the traditional consideration of Salieri as the antagonist, inevitably confronts the tragedy of the other three, where the protagonists – albert, the don Juan and Walsingham – embody the intimate and personal, the autobiographical the beginning. A special burden in the rhythmic development of the conflict is the inverse relationship of “musical” and “verbal” replicas. On the one hand, it is the decreasing volume of Salieri’s monologues and the increasing volume of musical excerpts. On the other hand, the dynamics of emotional dominants: the solemn pathetic of Salieri’s first monologue is replaced by the passionate instability and internal polemics of the second and the desperate confusion of the third, while Mozart’s music sounds first in the “parody” version, then – as a dramatically tense fragment and, finally, as a solemn mourning music.

[Resumo] A pesar da relevancia das relacións entre literatura e música no período contemporáneo, a súa función no sistema literario galego non foi obxecto dunha análise particular. Este traballo proponse contribuír a esa tarefa, levantando e sistematizando as composicións musicais de corte pop baseadas en textos poéticos lanzadas no período 1960-1975 para, a seguir, analizar a súa influencia no proceso de construción do canon literario nun momento histórico en que a difusión editorial estaba fortemente condicionada polo sistema represivo da censura [Abstract] Despite the relevance of the relationships between literature and music in contemporary times, their role in the Galician literary system has not been the object of a particular analysis. This work aims to contribute to this task, proposing and systematising pop musical compositions based on poetic texts released during the period 1960-1975 and then analysing their influence on the process of construction of the literary canon in a historical moment when the edition was strongly conditioned by the repressive system of censorship. Traballo fin de mestrado (UDC.FIL). Literatura, cultura e diversidade. Curso 2019/2020

This article informs about a literary supplement published on the pages of “La Región” from Ourense in the year 1933 (called “Los viernes literarios de la Región”), edited by Manuel Luís Acuña and X.L. Ramos Colemán, where the presence of Alvaro Cunqueiro was remarkable by publishing here poetic texts and an interesting biographical speech which are commented and recovered as they had never been compiled. No presente artigo dáse conta da existencia dun suplemento literario publicado nas páxinas de La Región ourensá no ano 1933 (“Los viernes literarios de la Región”), dirixido por Manuel Luís Acuña e X.L. Ramos Colemán, no que a presenza de Álvaro Cunqueiro foi destacada publicando alí textos poéticos e un discurso biográfico de interese que se comentan e exhuman pois nunca foron compilados. - En el presente artículo se informa de la existencia de un suplemento literario publicado en las páginas de La Región ourensana en el año 1933 (“Los viernes literarios de la Región”), dirigido por Manuel Luís Acuña y X.L. Ramos Colemán, en el que la presencia de Álvaro Cunqueiro fue destacada publicando allí textos poéticos y un discurso biográfico de interés que se comentan y exhuman pues nunca fueron compilados. No presente artigo dáse conta da existencia dun suplemento literario publicado nas páxinas de La Región ourensá no ano 1933 (“Los viernes literarios de la Región”), dirixido por Manuel Luís Acuña e X.L. Ramos Colemán, no que a presenza de Álvaro Cunqueiro foi destacada publicando alí textos poéticos e un discurso biográfico de interese que se comentan e exhuman pois nunca foron compilados. - En el presente artículo se informa de la existencia de un suplemento literario publicado en las páginas de La Región ourensana en el año 1933 (“Los viernes literarios de la Región”), dirigido por Manuel Luís Acuña y X.L. Ramos Colemán, en el que la presencia de Álvaro Cunqueiro fue destacada publicando allí textos poéticos y un discurso biográfico de interés que se comentan y exhuman pues nunca fueron compilados.