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The research is carried out in the context of ethnolinguistics, which is aimed at analyzing nominations of ecosystem objects as means of presenting relations between language and culture, and in particular, specificity in their perception by various ethnical and subethnical (dialect) groups. The authors rely on two suppositions: though flora and fauna are reflected diacritically in linguistic consciousness of various dialect communities due to physical, geographical, social environment, there exist some universal lexical and phraseological language means to describe every object of nature. The purpose of the article is to determine the regularities in nomination of the cuckoo as a significant linguocultural representative of fauna. The material for the study was the card file of the Linguistic Atlas of Russian folk dialects, stored at the Institute for linguistic research of the Russian Academy of Sciences (Saint Petersburg). The research has shown that the nominations of the cuckoo and the cuckoo chick have special implications in the linguistic consciousness of the Russian people. These units have onomatopoietic origin, they have undergone phonetic, derivational and semantic transformations in the Russian dialect continuum. Ornithonyms implement a binary semantic correlation, linking the sphere of living nature, to which they belong by denotative features, and the human character – the area where their development of connotative-contextual semantics leads, due to the specifics of the linguocreative thinking of the language personality.

The article considers the actual problem of determining the creative method of V. Nabokov in the aspect of artistic principles of modernism and postmodernism. Using the method of historical and discursive analysis, the features of the metanovel as the main genre of the writer’s prose are characterized. It is shown that the narcissism of Nabokov’s texts appears in the individual rhetoric of the writer, refuting the stereotypes of artistic perception formed in the classical tradition, signaling the aesthetic superiority of the writer. Stylistic codes forming a narcissistic novel are revealed: mythologism, deconstruction, double coding, intertextuality. The ways of their realization in the novels are described: individualization of linguistic techniques, metaphorization, allegorism, rhizomacy of structure of the text, play on cultural codes. It is established that as a means of author’s self- expression, the language of Nabokov’s works has value in itself, the writer develops his own way of aesthetic attitude to the word. It is concluded, that the identified stylistic codes determine Nabokov’s works as belonging to both modernism and postmodernism. These codes form a metatext, or supertext, a special type of non-classical prose, in which the language becomes a specific coding formation, allowing the author to present aesthetic and intellectual information, thus starting creative relations with the reader.

A narrow and wide understanding of the metalanguage consciousness is presented in the article as a set of metalinguistic consciousness levels, which are subconscious, verbalized and creative ones, and every level demonstrates its specificity. The author proves that subconscious and verbalized levels of metalanguage consciousness correspond to deep and surface levels of linguistic consciousness. The paper is also focused on features of metalinguistic consciousness, which embraces dual characteristics, including ontologism and gnoseologism, intuitivity and rationality, pragmatism and conceptual-terminological vagueness, prescientific and scientific character, objectivity and subjectivity; it describes main antinomies of metalinguistic consciousness: community or individuality; part or whole; creativity or automatism; common or scientific character; unconsciousness or awareness. The ratio of metalanguage consciousness levels and various areas of linguistics is characterized in terms of hierarchy of metalinguistic consciousness, provided that ordinary reflection and ordinary metalinguistic consciousness of an average native speaker are part of ordinary linguistics; scientific reflection and professional metalinguistic consciousness of a linguist are part of scientific linguistics. Accordingly, ordinary linguistics forms a linguistic (naive) picture of the world, whereas scientific linguistics - a scientific picture of the world. It is concluded that metalinguistic consciousness is a part of linguistic consciousness, but its functions overcome the intralanguage boarders.

Self-correctoin phenomenon in oral speech is the result of speaker's control. Speaker views his / her utterance as according or not to initial purpose (precision of information, correspondence to standard language and so on) and if it is necessary corrects him / herself. So, self-correction is a double denotation of the same situation (to the speaker's mind), which consists of two elements – error word and repair word. In this study the author makes an attempt to submit and analyze self-correction in colloquial speech as a phenomenon manifesting basic concept of arrangement of language knowledge in a speaker's conscience. The paper presents the classification of types of lexical self-correction in spontaneous oral speech. Components of self-correction (error word and repair word) are words of similar form and / or meaning. Those elements can be synonymous, antonymous, hyperonymous, derivational correlates or they may have similar opportunities and / or grammar features. Moreover, error word and repair word can be linked only in the context. The study results confirm the fact that the self-correction is a typical feature of spontaneous colloquial speech and it is manifesting a speech production process. The research was conducted on the basis of large corpus of spontaneous self-corrections of Russian speakers.

The article addresses the problem of assessment in The Idiot, the novel by Fyodor Dostoevsky. The special attention is paid to the specifics of realizing the concept of rightness in the text of the novel. The ideological and communicative disunity and existential loneliness peculiar for most of Dostoevsky's novels, reach the special tragic culmination in The Idiot. It is Dostoyevsky's most "polyphonic" novel, but this polyphony is negative as it excludes the possibility of a dialogue and turns out to be the evidence of a communicative deafness for the most of the characters, tragic both for them and for the people around them. The Christian postulate about the impropriety to judge another in the situation of one's own unconscious sinfulness – "...Why do you see the speck that is in your brother's eye, but do not notice the log that is in your own eye?" (Matthew 7: 1-5) is one of the novel's main ideas. In Dostoyevsky's novel the blindness towards one's own sinfulness goes with the blindness towards another. The Idiot is a novel about misunderstanding, and about the impossibility of an adequate perception of another. In this context the concept of rightness is actualized differently for each of the characters. The analysis of the lexemes through which this concept is actualized allows us to draw a conclusion on the destruction of the common assessment criterion reflected in the novel. In Dostoyevsky's novel each person is separated from another by the wall of their "hermeneutic circle" with its own understanding of rightness that can be compared to the "Meyer's wall" from the Hippolyte Terentyev's confession. The Hippolyte's "wall" being a cognitive metaphor becomes the mental isogloss in the cultural discourse of the existential world, and it is also the "discourse code" for the drama of the communicative disintegration of the human world. The tragic disunity of "hermeneutic circles" of the characters causes not only the anthropologic catastrophe, but the real existential collapse leading to dementia and even death.