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The article is devoted to the study of the genre of literary epitaph in Tabasaran poetry. In the water part, which has a theoretical character, the difference between the cemetery and literary epitaph is shown, the constitutional signs of two genre varieties are revealed, the degree of mastering of the genre in the literatures of the peoples of Dagestan is stated.
In the main part of the work, the thematic, structural and compositional analysis, as well as the analysis of the subjective organization of the texts of the Tabasaran literary epitaph were carried out on the material of the poetic texts of poets G. Hajiyev and R. Ramazanov. The author comes to the conclusion that the literary epitaph in Tabasaran poetry has an edifying and satirical character; it condemns the actions and qualities of people who contradict the national ideal of a woman, mother, highlander — adultery, violence against people, selfishness and indifference, depravity and perseverance in committing sins. Also in the epitaphs, the problems of retribution for earthly life, gratitude are raised.

The article is devoted to the study of the originality of literary anthroponyms in the works of Boris Ukachin. This problem has been little studied and requires further research. The relevance of the research is determined by the need to interpret the artistic anthroponymicon in order to comprehend the deep meaning of the text. The anthroponymic vocabulary of Boris Ukachin's artistic works has a significant potential for understanding the ways of the individual author's organization of the artistic space and the system of subtext connections. Therefore, the study of the anthroponymy of the author's works makes it possible to expand and streamline information about the traditional and new in the writer's artistic heritage.
Literary anthroponyms serve as a means of designating characters, isolating and distinguishing them, concretizing and generalizing. The anthroponymic space of Boris Ukachin's works is extraordinarily rich, there are names in it that reflect the customs, traditions and worldview of the Altai people, which are formed by different ways of word formation. The name and her appearance largely determine the artistic thought of the author, it is closely related to the plot, portrait, landscape of
Boris Ukachin's works. Since people call an object by their personal names, they do not attribute any properties to it, however, in a literary text, thanks to anthroponyms, the writer hides a certain meaning that reflects the character of the hero. It is thanks to proper names that the reader becomes clear which character is in front of him. Anthroponymic semantics manifests itself especially vividly and profoundly in the title of the stories.
According to the author, anthroponyms are widely and variously represented in the work of B. Ukachin. Many of them are divided by lexical and semantic characteristics into descriptive names, wish names and names that give some information about a person's personality.

The emergence of new phenomena and concepts determines the constant need for new means of cognition, nomination and evaluation — a process in which metaphors traditionally take the leading place.
The article is devoted to the processes of replenishing the actual vocabulary of socio-political discourse through metaphorization as a means of secondary nomination. The subject of the study is the metaphorical character of this part of the modern German lexicon and the processes of metaphorization that took place in the German-language socio-political discourse during the last decade. The object of the study was lexical units selected from publications in modern
German-language media. The paper describes the functioning of topical metaphors in the social sphere, domestic and foreign policy, economy, education, modern technologies, and ecology. The processes of metaphor migration between different spheres, as well as the expansion and specialization of their meaning are presented. The linguistic material is considered first of all in cognitive and nominative aspects and is analyzed according to several criteria: conceptosphere, belonging to parts of speech and language of origin, structural and functional characteristics, word-formation potential. Special attention is paid to the description of conceptual (cognitive), figurative and expressive-evaluative metaphors, as well as the anthropocentric nature of metaphor. The article analyzes a number of
so-called «leading metaphors» of modern socio-political discourse, which, due to their high frequency and manipulative use, have lost their metaphoricality over time and undergone significant semantic changes. The problem of manipulative nature of some metaphors, the issues of morality and political correctness of their use are discussed. Theoretical considerations are illustrated by actual linguistic material, which is a cross-section of a particular stage of language functioning and allows us to study its dynamic and creative essence.

This review deals with the chapter about modern Russian Studies in Germany in the collective monograph "Izuchenie Rossii sovremennymi istorikami Zapada i Vostoka", recently published under the editorship of N. V. Trubnikova. Its authors, the Tomsk historians V. V. Ageeva and M. A. Shtanko, have set a promising goal for their research: to approach the German rossievedenie in their overview covering the period from 1975 until 2014 with theoretical-methodological criteria instead of the more common in such cases political ones. In order to realize this project, they proposed to divide modern German historiography into three periods, with the latter one which covers the years 2005-2014 being a no less important innovation. However, it fell short of the reader's expectations. Unfortunately, the chapter "Sovremennoe nemetskoe rossievedenie: spetsifika diskursa, tematicheskie polia i protsess institucionalizacii" is a mere compilation of superficially adapted facts, conclusions and ideas mostly taken from other works. V. V. Ageeva and M. A. Shtanko do not seem to have paid attention to the fact that some of the data they draw on have already lost its actuality. Statistical material serves largely to confirm their own postulates, and most references to German historians and their studies are inaccurate and misspelled, which does not enhance comprehension. Overall, the reader gets the impression that the authors were due to finish their work under some time pressure. This probably would explain why they chose "to take the easy way out" - in the end, the welcoming innovative theses expressed at the beginning of the chapter are abandoned, whereas outdated clichés - confirmed. © 2020 Saint Petersburg State University. All rights reserved. ; This article was prepared within the framework of the state project of the Ministry of Science and Higher Education of the Russian Federation "Regional Identity of Russia: Comparative Historical and Philological Studies" (Laboratory for the Study of Primary Sources, Ural Federal University) No. FEUZ-2020-0056.

The image of Russia in Joseph Conrad's literary works has been discussed in both Russian and Western literary studies. The correlation between the image of Russia and the writer's aesthetic position, the relations between the Russian and Western worlds, the Russian national character and the place of Russia in human civilisation are reflected in Conrad's famous novels The Secret Agent and Under Western Eyes: however, The Warrior's Soul and The Heart of Darkness have not been studied so closely from this point of view. Using the methods of imagology and receptive aesthetics, the author argues that the image of Russia in Conrad's literary world is a complicated phenomenon, with features of social and political aggression and tendencies to self-destruction caused by an oppressive political system. The retaliatory open social aggression, its organised forms, its impulsiveness, and cruelty make such traits of the Russian national character as passion, cynicism, love for abstract ideas, and lack of principles come to the fore. Other features typical of Conrad's Russian characters are intrinsically connected with the boundless territories of Russia. They are indefinite in everything: empathy, sensibility, and irresponsibility. The quality of "openness" in the Russian space and character gives Conrad's Russia an open, unknown, non-oppressive future. Conrad depicts Russia as part of contemporary European, or universal, civilisation, which is, at its core, aggressive and dark. Life penetrates Conrad's Russia, as well as his European world, through individuals who, under any circumstances, choose humanity, compassion, and self-sacrifice. ; Вопрос о специфике образа России в художественном творчестве Джозефа Конрада неоднократно обсуждался как в отечественном, так и в западном литературоведении. При этом открытыми остаются вопросы связи образа России с эстетической позицией писателя, взаимоотношений русского и западного мира, русского национального характера, места России в человеческой цивилизации. В статье с использованием методологии компаративистики и имагологии, а также идей рецептивной эстетики они рассматриваются на материале как известных романов The Secret Agent («Секретный агент») и Under Western Eyes («На взгляд Запада»), так и менее изученных с этой точки зрения произведений – The Warrior's Soul («Душа воина») и The Heart of Darkness («Сердце тьмы»). Показано, что основу конрадовского художественного образа России составляют черты социально-политической агрессии и тенденции к разрушению, вызванной деспотической политической системой. Ответная открытая социальная агрессия, ее организованные формы, импульсивность и жестокость предстают связанными с глубинными чертами национального русского характера: страстностью, цинизмом, любовью к абстрактным идеям, отсутствием четких принципов. Безграничные пространства России определяют другой ряд черт русских героев Конрада: неопределенность во всем, эмоциональную отзывчивость, восприимчивость, безответственность. За этим рядом просматривается открытость – особое качество русского пространства и русского характера. Именно она дает конрадовской России неведомое, но новое, не связанное с агрессией будущее. В то же время Россия в художественном мире Конрада предстает частью современной европейской или общечеловеческой цивилизации, в сердце которой бьются тьма и агрессия. Свет жизни проникает в конрадовскую Россию, как и в европейский мир, через отдельных людей, которые при любых обстоятельствах выбирают человечность, сочувствие и самопожертвование.

The article presents an analysis of the prerequisites for the emergence of palliative care and its functions in modern Russia. The fundamental idea of modern palliative care is the absence of suffering of an incurable patient, first of all, the minimization of physical suffering, while palliative care allows solving a number of problems in the field of comprehensive support for incurable patients. Palliative care in its organizational forms begins its development in European countries and the USA, the hospice movement also emerges in Russia, however, certain prerequisites for caring for incurable patients (and not only oncological patients) were created in our country back in the 19th century. The scientific prerequisites for the formation of hospices as special institutions whose purpose is to care for dying patients are the experience of treating chronic pain, as well as effective psychotropic drugs, dynamically developing anti-cancer chemotherapy and radiation therapy, and achievements of medical psychology. An analysis of the functions of palliative care allows us to come to the conclusion that for palliative medicine and healthcare in Russia in general, the priority goal is to relieve the patient from pain; it is also important to disseminate information about possible means of achieving this effect. Palliative care relieves incurable patients from the humiliation caused by pain, illness, and infirmity. It implements several functions: it forms charitable medicine as a new form of medical and social service for incurable patients, promotes the provision of medical care to patients in the terminal stage, including at home, allows for symptomatic treatment of patients in the terminal stages, and organizes qualified care for them using psychotherapeutic and traditional methods, select and carry out the necessary pain relief therapy, provide psychological and social support to relatives during the period of illness and loss of a loved one.

The purpose of this article is to define the artistic and extraliterary features of the literary section of one of the first and most significant private newspapers of Ural Region at the turn of the twentieth century. The conclusions of the article are based on the genre attribution of works published in the newspaper (a poetic legend, feuilleton, soldier's tale), the correlation of these works with the sociocultural and geographical contexts, and the peculiarities of the authors' biographies. The article notes an attempt to correlate heterogeneous phenomena in the literary section made by the editorial board of the newspaper. It is important because of the peculiarities of the newspaper's circulation at that time and the awareness of the geographical position of the Urals as a "middle" region. In the newspaper, there are themes, plots, genres of works of Western European literature and the East, the fate of authors, actively moving to the east (Siberia, the Far East) and to the west, newspaper, and literary texts proper. The editorial policy for Ural was formed along the lines of the coexistence of different esthetic and political views. This was due to the extraliterary peculiarities of the newspaper's circulation at the turn of the century and the need to attract the attention of readers by any means to provide financial success.In the study, the author applies the genre and motif analysis of literary works. The conclusions are based on a wide literary and illustrative material of the Ural newspaper and other newspapers of Ural Region, the memoirs of contemporaries, and archival materials. The characteristic features of literary critical materials published in the Ural newspaper confirm the features of the editorial policy indicated: an appeal to contemporary authors and authors of the past and to works whose authors had different aesthetic views. As a result, the author of the article concludes about the medial position of the literary department of the Ural newspaper, uniting literary works that are diametrically opposed in sociocultural, aesthetic, and geographical terms. ; Цель автора статьи — обозначить художественные и экстралитературные особенности литературного отдела одной из первых и одной из наиболее значительных частных газет Уральского региона на рубеже XIX–XX вв. Выводы статьи базируются на жанровой атрибуции произведений, опубликованных в газете (стихо­творная легенда, фельетон, солдатская сказка), соотнесении этих произведений с социокультурным и географическим контекстом, особенностями биографий авторов этих произведений. В статье отмечается попытка редакции газеты объединить в литературном отделе разнородные явления, что объясняется особенностями бытования газеты в это время и осознанием географического положения Урала как «срединного» региона, в котором могут соотноситься темы, сюжеты, жанры произведений западноевропейской и восточной литературы, судьбы авторов, активно перемещающихся на восток (Сибирь, Дальний Восток) и на запад, собственно газетных и художественных текстов. Характерным для «Урала» стал поиск такой редакционной политики в публикации литературных произведений, которая позволяла объединить авторов разных эстетических и политических воззрений. Это объяснялось экстралитературными особенностями существования газеты на рубеже веков, необходимостью любыми средствами привлекать внимание читателей, чтобы обеспечить издателю финансовый успех.В исследовании был применен жанровый, мотивный анализ литературных произведений. Выводы основаны на широком литературно-иллюстративном материале, ранее не вводившемся в научный оборот, не только газеты «Урал», но и других газет Уральского региона, на воспоминаниях современников, архивных материалах. Характерные черты литературно-критических материалов, опубликованных в газете «Урал», подтверждают обозначенные особенности редакционной политики: обращение к авторам современным и авторам прошлого, к произведениям, авторы которых исповедовали разные эстетические воззрения. В результате автор статьи приходит к выводу о срединном положении литературного отдела газеты «Урал», объединяющем диаметрально противоположные в социокультурном, эстетическом, географическом отношении литературные произведения.

Today our guest is a double Doctor of Philosophy (in Franco-Russian Studies and in Mathematics), Associate Professor, Head of Russian Studies at the School of Language and Global Studies of the University of Central Lancashire in the English city of Preston, Olga Tabachnikova. Olga Tabachnikova is the author of numerous articles and books on Russian literature and culture, the founder and director of the Research Centre for the Study of Russian Language and Culture named after Vladimir Vysotsky at the University of Central Lancashire, as well as the author of two collections of poetry. Her continuous and multifaceted activity of bringing the two cultures closer together, has made Russia more comprehensible for the Western audience. It demonstrated that our country is a complex, but enticing cultural and sociopolitical space, fully knowable for the world community. Today, in the context of difficult political relations between Russia and Britain, this is a truly significant achievement which is hard to overestimate. We present to you an interview with Olga Tabachnikova, in which we aimed to elucidate the main issues pertaining to the study of Russian culture abroad.

The paper features linguistic and creative foundations in the German comic book "Dig, Dag, Digedag". Modern linguacultural, cognitive studies, and discursive practices are aimed at studying comics, which are a series of drawings with brief accompanying texts. However, comic books consist of two components – verbal and nonverbal, which means that graphic novels and strips have linguacreative foundations. The author performed philological and semiotic analyzes to identify the linguistic and creative foundations of the German comic book. The algorithm of the philological analysis included literary description of the time and place, the most original and interesting scenes in several editions, lexical expressive means and stylistic devices. The semiotic analysis featured the graphics related to the non-verbal component. The linguistic and creative foundations of the comic are manifested in original plots that allow its readers to escape from everyday and political problems through fun, exciting, and informative trips to Ancient Rome, Sicily, ancient Arab countries, the Moon and Mars, as well as to an uninhabited island. The carefully selected scientific and mundane knowledge is transmitted through verbal means and comic book graphics, making young readers expand their horizon. The use of such tools as hyperbole, metaphor, pun, as well as diverse vocabulary within the text of the comic, also suggests linguistic creativity of the German comic book "Dig, Dag, Digedag". ; Статья посвящена исследованию лингвокреативных оснований в немецком комиксе Dig, Dag, Digedag. Одним из актуальных направлений работы современных лингвокультурных, когнитивных исследований и дискурсивных практик является изучение комиксов, представляющих собой серию рисунков с краткими сопроводительными текстами. Для выявления лингвокреативных оснований немецкого комикса предлагается филологический и семиотический анализ. Алгоритм филологического анализа заключается в литературоведческой характеристике даты, времени и места написания комикса, выявлении оригинальных и интересных сюжетов в рамках нескольких выпусков комикса, отборе и описании лексических средств выражения и стилистических конструкций. Графика комикса, относящаяся к невербальному компоненту, подвергается семиотическому анализу. Лингвокреативные основания исследуемого комикса проявляются в оригинальных сюжетах-путешествиях в Древний Рим, Сицилию, государства Древнего Востока, на необитаемый остров, на Луну и Марс. Посредством тщательно подобранных научных и бытовых знаний, передаваемых с помощью вербальных средств и графики комикса, читатели, в частности молодые, расширяют свой кругозор. Использование гипербол, метафор, каламбуров, разноплановой лексики также позволяет говорить о лингвокреативности комикса Dig, Dag, Digedag.

The article is devoted to the review of the olfactory image representation in fiction. The relevance of the research is determined by the linguists' interest in description of the linguistic features of the designation of odoric sensations in the pragmalinguistic aspect. In this regard, relevant is the linguo-pragmatic study of the olfactory image formation and means of its description in German. The purpose of the article is a description of the means and methods of forming of men and women olfactory image in the German language. The material of the research were the examples from German-language fiction works that are part of the national German language corps DWDS. In total, 1184 text fragments from 30 works by German-speaking authors were analyzed. In this research, the authors describe in detail the structure of the lexical-semantic field "smell" in German, which is used to form olfactory images in a gender aspect and acts as a pragmatic marker. Based on the analysis of text fragments, the authors describe the means of olfactory images forming of men and women. The analysis shows that the olfactory image of a woman focuses on the pleasant smell that occurs while using cosmetics and while mentioning the woman's natural smell. By describing an olfactory image of a man, vocabulary with a negative connotation dominates, and the "unpleasant smell" acts as a marker. Quantitative results of the study showed that the prevailing female image is positive, which causes positive emotions in the reader, while negative is prevailing by creating a male olfactory image. This pattern can be explained by social expectations from a woman who, in any circumstances, should look attractive. A negative olfactory image of a man can be an indicator of his masculinity, strength.

The article
is devoted to studying the perception of a literary text
(hereinafter referred to as LT), which is relevant for the current state of literature
research, as projected on the theoretical prerequisites of the domestic prehistory of
European receptive aesthetics. Russian philology has developed two approaches to
LT — the psychological ("Russian psychological school" by A.A. Potebnya and his
followers) and the purely formal ("Russian formal school" of the language — OPOYAZ) ones. Cognitive poetics as the mainstream modern fi eld of literature studies
combines these approaches in the light of the goals that it sets for itself: the study of
both the formal and semantic organization of the text and its understanding by the
reader. Th e focus of the study into a work of literature is its understanding, therefore,
the meaning of the text turns out to be a scientific priority, as well as the development
of algorithms for its reconstruction in the reader's perception. In this regard, the
terminological apparatus is of particular importance, assuming the differentiation
of the terms of the triad "apprehension-perception-reception". Studying reader's
perception particularly focuses on L.S. Vygotsky's concept of the influence of the
text's rhythm on reader.