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This paper is a retrospective analysis of the development of the journal "Slovo.ru: Baltic Accent" since 2010. There have been significant changes in the editorial policy of the journal and the variety of themes has become remarkably rich. The main approach to the formation of the content of the journal has changed from polydisciplinarity to transdisciplinarity. The journal is now designed for a much wider readership, representing different fields of science (linguistics, literary criticism, history, philosophy, semiotics, etc.), incorporated into a single methodological complex. The journal unites different paradigms of modern humanities and beyond.

In this article, we discuss the methodological prospects of using the term 'pattern' in the analysis of a literary text. We identify the semantic and categorial field of the term, propose a definition of 'pattern' as projected on language material, and correlate the terms 'pattern', 'repetition', 'recurrence', and others. The linguistic ontology of the pattern as a text-generating mechanism is determined by the fact that the pattern problematizes the relation­ship between repetition and variation, singular and plural, a norm and a deviation. A text has a pattern nature if its basic pattern does not coincide with its textual realizations, provided the latter are very similar at the prototype or model level. Therefore, the relationship between the pattern and a resultant text is isomorphic to the relationship between language and speech. Our analysis of poetic texts by Andrey Monastyrsky and Dmitri Prigov demonstrates the possibilities of studying a text as the realization of a pattern from the perspective of vari­ous literary strategies adopted by authors.

The article develops a view of neural networks as a tool for formulating and verifying philological hypotheses related to various aspects of the generation and reception of a literary text. The principles of aesthetic communication are analyzed, in which, thanks to the development of the modern technological environment, an anthropic author, a neural network and a recipient can participate equally. Neuropoetry is interpreted through the metaphor of a "battle of poetic languages" (in accordance with the conventions of the rap battle genre) — as a communicative field in which anthropic and digital authors interact as equal participants in the creative act, jointly forming new prerequisites for the reader's perception of a literary text. The 'co-creation' of anthropic and digital authors is considered in terms of the actor-network theory of Latour. In interactions between a person and a neural network, the latter transcends its purely instrumental function and assumes features of subjectivity. It becomes an equal agent in generating a collective aesthetic statement. Neuropoetry, as a result of co-creation of this kind, is characterized by a double semiotic nature: one part of it is the result of the creation of an anthropic author, while the second demonstrates 'secondary poetry', in which the digital author imitates the procedures of natural speech generation. As a result, a new, complicated model of aesthetic communication is formed, complementing the standard positions of the communicative act (author — text — reader) with the level of communicative interaction of anthropic and digital co-authors. The recipient, in the situation of perceiving a text co-written by a person and a neural network, is involved in a complex interpretative game that activates the mechanisms of aesthetic reception, and the act of 'neuro-creativity' itself creates new forms of mimesis, which ceases to be 'imitation of the world' and becomes 'imitation of imitation'.

This article presents a comparative analysis of two approaches to describing the reference within poetic statements: the pragmasemantic approach, which builds upon Gottlob Frege's ideas of the poetic sign as "a sign with meaning but without reference," and aesthetic-functional theories of poetic language linked to Roman Jacobson's concept of the poetic func­tion. The pragmasemantic interpretation of the referential capabilities of a poetic sign explores questions regarding the principles of its verification and examines its relationship with ex­tralinguistic objects. From this perspective, the artistic expression's ability to establish objec­tive references is either entirely denied (by Frege) or associated with the actions of "aesthetic operators" (Linsky), specific illocutionary attitudes (Searle), or the recipient's standpoint (Zolyan). On the other hand, the theory of the poetic function of language, as presented in formalism and structuralism, posits that the reference of the poetic sign does not extend to the world of objects but rather to the linguistic environment inherent within the sign. It under­scores the "auto-referentiality" (Faryno) of an artistic statement. Pragmase­man­tics and aes­thetic-functional concepts of poetic reference both contribute to a reduction, albeit from oppo­site angles: pragmasemantics locates the referents of the poetic sign within 'possible' (artistic) worlds but somewhat overlooks the unique characteristics of poetic language. In contrast, functionalism sidelines the question of a sign's objective references, steering artistic discourse entirely toward linguistic elements. A potential resolution to this polarity in analytical ap­proaches involves viewing the poetic sign as a bi-referential phenomenon, simultaneously engaging along two axes — extralinguistic and linguistic. This approach enables the consid­eration of an artistic statement not as deficient but, conversely, as abundant in its referential connections. It helps reveal the common semiotic mechanisms at play in any work of art, which motivate the 'definition of poetry' as a distinct statement about a unique world.

This article is a study of literary representations of the text 'Königsberg-Kaliningrad' analysed from the point of view of geopoetics. Based on the descriptions of Königsberg-Kaliningrad in Bolotov's memoirs "Life and adventures of Andrey Bolotov, described by himself for his descendants", Brodsky's poem "Einem alten Architekten in Rom" and the novel "Königsberg" by Buida, the authors explore the sensorial perception of the city by the writers and establish its correlation with the extraliterary metapositions reflected in their texts. It is argued that the basis of the description of Königsberg in Bolotov's memoirs is a detailed mapping of the city, interwoven with a feeling of surprise, which results in an emotional discovery of the unfamiliar space. Brodsky's poetic optics is interpreted as a transition from 'vision' to 'speculation': an imaginary tour of Königsberg leads the poet from the sensory (visual and aural) perception of the city to the understanding of its non-material, spiritual and noumenal essence. Buida associates the space of Königsberg and Kaliningrad with the idea of myth construction. Shifting from the real Kaliningrad to the imaginary Königsberg, the author fills in the semiotic incompleteness of the city as a sign. Based on the comparison of the three types of perception, it is concluded that for different authors, the perception and the understanding of the city K. is associated with its transcendence from the personalization of the material essence of the city to the transition beyond the material, to the city as a noumenon, a thing-in-itself.

The article is devoted to the study of the poetics of reduplication in Alexander Vveden­sky's fiction texts. The aim of this research is to analyse the functional range of reduplications at different textual levels, from the lexical to the thematic. Reduplication is understood as one of the most important tools of Vvedensky's linguopoetic experiment, aimed at the 'revision' of the ability of language to signify and represent the world and its basic semiotic principles. For Vvedensky, the non-normative punctuation of contact lexical reduplications creates prerequi­sites for perceiving repeated word forms as occasional homonyms, distinguishes the signified behind the signifier, and also problematizes the nature of poetic communication. On the grammatical level, reduplication creates tension between repeated grammar patterns and their lexical realisations, which allows Vvedensky to demonstrate the potential extensibility of syn­tactic models and make grammatical semantics a compensatory mechanism that fills the se­mantic void of the poetic utterance. Vvedensky's thematization of reduplication as the "dou­bling of the world" is a mirror, which deforms and transforms reality. Mirror semiosis illus­tra­tes the loss of iconicity by reduplication and, as a consequence, the impossibility to repre­sent the object by its reflection. The authors conclude that on the level of vocabulary and gram­mar, reduplication creates dynamism in the verbal space of the text, activates its inter­pre­tation and thus creates the situation of gnoseological doubt in the adequacy of language as a means of representing the world. In the thematic field, it deprives the world of its self-iden­tity since objects constantly multiply, lose their distinctiveness or, on the contrary, find mea­ning where it does not exist.

This article analyses strategies for cultural appropriation and the appropriation of Push­kin's personality and oeuvre by the Russian avant-garde. The treatment of Pushkin by the avant-garde is considered as a peculiar variant of cultural apophaticism when the object of reflection is asserted through its consistent negation. The factography of the Russian avant-garde proves that, from its earliest stages the creative system has been constructing its own Pushkin myth, within which the poet has the role of both an object of cultural overcoming and the reference point for the development of a new art. Through negation, the avant-garde strives to 'discharge' Pushkin and to show his strangeness to classical cultural models. By making the poet its own, the avant-garde uses him to secure its position in the literary field. Another focus of the article is the place and role of the Pushkin substrate in the poetry and theoretical treatises of Aleksei Kruchyonykh. In his works Pushkin is an object of poetical overcoming and a pole of attraction-repulsion. He is a touchstone, a reference point for the conceptualisation of a new literature. In developing his theory of the shift, Kruchyonykh views Pushkin as a 'sound-poet'. That analytical position made it possible to move from dis­missing him as 'a deaf singer' to the avant-gardist glorification of Pushkin as a genius who worked with the sound texture of the poem. Kruchyonykh demonstrates that for Pushkin the shift is a powerful semantic generator of poetry, a tool that makes an error 'the rule of break­ing rules': semantic deviations turn into neologisms, whereas the shift itself enters the realm of productive poetic techniques.

The modern cynological service of Ukraine is an integral part of the National Police of Ukraine, the National Guard of Ukraine, the State Border Guard Service, the State Emergency Service of Ukraine.The purpose of this study was to shed light on the history of cynology. To address this issue, the task was to collect and systematize data on the development of cynology. The main purpose of dog training in the law enforcement system is primarily to assist employees of these structures in improving the effectiveness of their activities to prevent, stop, detect and investigate crimes, using the special knowledge of dog handlers, as well as their skillful use of service dogs as a special means.The following research methods were used in the research process: general scientific – logical analysis, generalization, classification, systematization, actualization and comparison; historical – biographical, problem-chronological, comparative-historical.The history of the human-dog relationship dates back more than 500,000 years. Archival documents contain records of the use of dogs in military affairs more than 6,000 years ago in Eurasia, Africa and North America. As early as 7000 BC, purposeful dog breeding was widespread.No other animal species shows such diversity. Today there are more than 400 breeds of dogs, not counting crossbreeds. Despite this biodiversity, all domestic dogs belong to the same family, the Canis familiis, whose wild ancestor is the wolf, as evidenced by DNA analysis.To date, there are three main areas of dog breeding: service, which includes herding, associated with various branches of animal husbandry, riding (harness) and own service – the use of dogs for guard, search and other services; hunting (industrial and sports); decorative (breeding of mostly domestic dogs of original forms, companion dogs).Thus, the study of the history of cynology will allow more extensive use of the capabilities of dogs in the modern cynological service. ; Сучасна кінологічна служба України є невід'ємною складовою частиною Національної поліції України, Національної гвардії України, Державної прикордонної служби, Державної служби України з надзвичайних ситуацій.Метою даного дослідження було висвітлити історію становлення кінології. Для вирішення цього питання було поставлено завдання зібрати та систематизувати данні стосовно розвитку кінології.У процесі досліджень було використано наступні методи досліджень: загальнонаукові – логічного аналізу, узагальнення, класифікації, систематизації, актуалізації та порівняння; історичні – біографічний, проблемно-хронологічний, порівняльно-історичний.Історія відносин людини і собаки бере свій початок більше 500 тис. років тому. В архівних документах збереглись записи про використання собак у військовій справі більше 6000 років тому в Євразії, Африці та Північній Америці. Вже 7000 років до н.е., було широко поширене цілеспрямоване розведення собак.На сьогоднішній день розрізняють три основних напрямки собаківництва: службове, що включає пастуше, пов'язане з різними галузями тваринництва, їздове (упряжне) і власне службове – використання собак для караульної, розшукової та інших служб; мисливське (промислове і спортивне); декоративне (розведення переважно кімнатних собак оригінальних форм, собак-компаньйонів).Отже, вивчення історії кінології дасть змогу більш широко використовувати можливості собак в сучасній кінологічній службі.

Tomato mosaic virus (ToMV) induces highly infectious disease of vegetables, whereas use of virus-contaminated seed may lead to complete yield loss. This work was aimed at studying phylogenetic relationships of Ukrainian tomato isolates of ToMV with its known isolates by comparing nucleotide sequence of coat protein gene. ELISA, TEM, RT-PCR, sequence analysis using MEGA 5 software, and statistical methods. cDNAs of two novel Ukrainian isolates ToMV-ukr-5 and ToMV-ukr-10 corresponding to coat protein (CP) gene were sequenced and compared with other published ToMV sequences. On the constructed phylogenetic tree, ToMV isolates were grouped into two separate clusters. In addition to novel Ukrainian isolates ToMV-ukr-5 and ToMV-ukr-10, the first and larger cluster contained nearly all virus isolates used in this study with high (96-98,9 %) level of homology to Ukrainian isolates. The larger cluster was clearly separated into two subclusters: one grouping isolates with over 96,7 % identity with Ukranian isolates, and the other containing three strains and isolates with 96,1 % identity (tomato isolate SL-1, strain camellia isolated from a decorative plant, and isolate Dahlemense DSMZ PV-0135).Two novel Ukrainian isolates ToMV-ukr-5 and ToMV-ukr-10 have been isolated from tomato plants cultivated in open field conditions in different regions of Ukraine. Phylogenetic analysis confirmed high identity of Ukrainian isolates between themselves and with other published ToMV sequences. Ukrainian isolates were most homologous (>98 %) to Brazilian isolate Hemerocallis, to Chinese isolate G2, and to the following tomato isolates: AH4, Queensland, ToMV-tom and Ls-K, S14, and FERA_160205. The high
level of homology was traced independently of the source of virus isolation, its plant host and their geography.

The article aims to study the role and importance of an expert and linguistic support of law drafting as a mean of improving the national legislation of Ukraine. The work is based on the application of descriptive, systematic, logical-legal, hermeneutic, statistical, comparative-legal methods of legal research and the method of alternatives. The research materials include normative legal acts regulating the activity of expert and linguistic support of lawmaking in Ukraine, Germany, France, the Czech Republic, and Poland. The circle of the main executors of expert and language support of lawmaking in the specified countries, for the definition of their efficiency according to the Rule of Law Index as an indicator of the quality of the legislation, is allocated. The nature of the influence of expert and linguistic support of lawmaking of the analyzed states and their Rule of Law Indices is established. ; El artículo tiene como objetivo estudiar la importancia de un apoyo experto y lingüístico de la redacción de leyes como medio para mejorar la legislación nacional de Ucrania. Se basa en la aplicación de métodos de investigación jurídica descriptivos, sistemáticos, lógico-jurídicos, hermenéuticos, estadísticos, comparativos-jurídicos y el método de alternativas. Los materiales de investigación incluyen actos jurídicos normativos que regulan la actividad de apoyo pericial y lingüístico de elaboración de leyes en Ucrania, Alemania, Francia, la República Checa y Polonia. Se asigna el círculo de los principales ejecutores del apoyo pericial y lingüístico de la elaboración de leyes en los países especificados, para la definición de su eficacia según el Índice de Estado de Derecho como indicador de la calidad de la legislación. Se establece la naturaleza de la influencia del apoyo experto y lingüístico de la elaboración de leyes de los estados analizados y sus Índices de Estado de Derecho. ; O artigo visa estudar o papel e a importância de um especialista e do apoio linguístico à redação de leis como um meio de melhorar ...