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The present article deals with the means of expressing subjective modality of any literary text inthe process of studying a foreign language. The method of text analyzing and interpreting in order toevaluate and to mark the idea of the author is the main purpose of the scientific paper. The original versionof the antiwar pamphlet "The Conduct of the Allies and of the Late Ministry in Beginning and Carrying on the Present War" written by Jonathan Swift, an Anglo-Irish satirist, essayist and political pamphleteer, is the major source that the research has been conducted on. ; Данная статья рассматривает средства выражения субъективной модальности художествен-ного произведения на иностранном языке. Центральное место в статье отводится методике ана-лиза художественного текста на предмет определения оценочного аспекта. Для предлагаемой ме-тодики оценки и интерпретации текста основополагающими являются два фактора: смысловойили синтаксический рисунок текста и отношение автора произведения к излагаемому материалу.Посредством вышеназванных факторов, автор художественного произведения прибегает к опре-деленным языковым средствам, передающим смысл текста и воздействующим определеннымобразом на читателя. Материалом данного исследования послужил оригинал антивоенного пам-флета англо-ирландского писателя-сатирика и публициста XVII–XVIII веков Джонатана Свифта«Поведение союзников и министерства в настоящей войне».

В статье рассматривается проблема многомерности реализации политических идей в художественных текстах.

Статья посвящена изучению пространства возможных миров в художественном тексте с позиций лингвосемиотического анализа. Рассмотрение формирования возможных миров в художественном тексте в терминологии референциальности высказывания дает возможность автору сделать вывод о перспективности изучения экстенсионала и интенсионала художественного текста в отношении его содержания и смысла, что позволяет описывать возможные миры с позиций экстенсиональных элементов мира и их интенсиональных функций. В статье доказано, что пространствовозможных миров – это не только пространственные координаты действия, событий художественного текста, но и пространство авторской интенциональности, реализующее художественный вымысел. Лингвосемиотическое функционирование возможных миров мыслится автором статьи двойственным образом – с позиций автора и читателя. В процессе исследования выявлено, что в тексте романа В. Орлова «Альтист Данилов» основной функцией маркеров художественного пространства является соотнесение возможных миров с художественной реальностью, по своим семиотическим признакам близкой к советской действительности 1970-х гг., и с фантастическим миром, который дифференцируется от этой условной реальности, но свободно проникает в нее. Определено, что пространственные координаты маркированы в художественном тексте на лексическо-грамматическом и синтаксическом уровнях; для зоны авторской интенциональности свойственен более широкий репертуар средств, применяемых для создания художественного пространства, включая активное воздействие на эмоции читателя, а также использование его фоновых знаний, культурного и обыденного опыта.
The article is devoted to the study of the space of thinkable worlds in a literary text from the standpoint of linguistic and semiotic analysis. Consideration of the formation of thinkable worlds in a literary text in terms of the referentiality of an utterance allows the author to conclude that it is promising to study the extension and intension of a literary text in relation to its content and its meaning, which makes it possible to describe thinkable worlds from the standpoint of the extensional elements of the world and their intensional functions. The article proves that the space of thinkable worlds is not only the spatial coordinates of the action, events of a literary text, but also the space of the author's intentionality, which realizes fiction. The linguistic and semiotic functioning of thinkable worlds is thought by the author of the article as dual – from the positions of the author and the reader. The study revealed that in the text of V. Orlov's novel "Violist Danilov" the main function of markers of artistic space is the correlation of possible worlds with literary reality, in its semiotic features close to the Soviet reality of the 1970s, and with a fantastic world that is differentiated from this conditional reality, but freely penetrates into it. It is determined that spatial coordinates are marked in a literary text at the lexical-grammatical and syntactic levels; the zone of authorial intentionality is characterized by a wider repertoire of means used to create an artistic space, including active influence on the reader's emotions, as well as the use of his background knowledge, cultural and everyday experience.

В статье рассмотрены лингвометодические аспекты, связанные с обучением студентов-иностранцев (инофонов) русскому языку как иностранному на продвинутом уровне на примере работы с текстами А. И. Солженицына. Художественные тексты писателя изобилуют индивидуально-авторскими единицами, созданными по неизвестной или знакомой в современном русском языке модели. Подчеркивается, что сложность обучения инофонов русскому языку на базе художественных текстов А. И. Солженицына вызвана необходимостью самому преподавателю в полном объеме владеть тонкостями стиля писателя. Лингвистический аспект данной статьи позволяет осознать специфику структурного состава индивидуально-авторских единиц А. И. Солженицына. В рамках методического аспекта подобные слова с измененным правописанием или семантической природой расширяют кругозор студента-иностранца, повышая не только уровень его владения русском языком, но и культурный уровень в целом. Активизируются широкие возможности для общения со студенческой аудиторией и преподавателями, а также для наиболее полного понимания всех коннотативных признаков коммуникативной ситуации. Нами выявлено, что при создании индивидуально-авторских единиц прослеживается определенная поэтапность, которая может быть положена в основу разработки ряда приемов обучения, отражающих факт поэтапной концептуализации в сознании студентов-иностранцев значимых особенностей менталитета русскоговорящих людей - носителей языка.
The article deals with the linguistic and methodological aspects related to teaching foreign students Russian as a foreign language at an advanced level by the example of working with the texts by A. I. Solzhenitsyn. Literary texts of the writer abound in individual author units created according to an unknown or familiar model. It is emphasized that the complexity of teaching Russian to foreign speakers based on the texts by A. I. Solzhenitsyn is caused by the need for the teacher to fully master the subtleties of the style of A. I. Solzhenitsyn. The linguistic aspect of this article allows us to get into the specifics of the structural composition of the individual author's constructions of A. I. Solzhenitsyn. Within the methodological aspect, such words with a changed spelling or a changed semantic nature expand the horizons of a foreign student, increasing not only the level of Russian language proficiency, but also the cultural level in general, giving a foreign student greater opportunities not only to communicate with the student audience and teachers, but also to better understand all the connotative signs of a communicative situation. We found that when creating individual author units, there is a certain step-by-step approach, which can be used as a basis for developing a number of teaching methods that reflect the fact of step-by-step conceptualization in the minds of foreign students of significant features of the mentality of Russian native speakers.

В статье рассматривается феномен взаимодействия дискурсов в англоязычной металитературе второй половины XX - начала XXI в. с позиций когнитивно-дискурсивного подхода. Актуальность исследуемой проблемы определяется ее включенностью в круг современных научных разработок в рамках когнитивно-дискурсивной парадигмы, в частности исследований, в основе которых лежит теория интердискурсивности, которая активно развивается на стыке теорий текста и дискурса. Материалом исследования являются лексические единицы, а также синтаксические и словообразовательные модели, полученные в ходе выборки из англоязычных научных и художественных текстов. Используемые в работе методы исследования включают комбинирование общенаучных методов дедукции и индукции, методов классификации, моделирования и интроспекции при анализе эмпирического материала, методов концептуального, компонентного, трансформационного анализа и анализа дискурса. Последовательное применение методов концептуального анализа и анализа дискурса позволяет восстановить исходную структуру и содержательное наполнение ментальных единиц, стоящих за репрезентантами научного дискурса в художественном тексте и репрезентантами художественного дискурса в научном тексте, а также проследить ход трансформаций, которым они подвергаются в нехарактерном для них дискурсивном окружении. Все вышесказанное свидетельствует о значительном функциональном потенциале репрезентантов научного дискурса, который делает возможным многовариантное декодирование зашифрованных в тексте смыслов субъектом дискурса, выражающее специфику конструирования и моделирования отражения того или иного фрагмента действительности членами определенного языкового коллектива, выступающими субъектами взаимодействующих дискурсов.
The object of the article is the study of discourse interaction in English metafiction of the second half of the 20th century - beginning of the 21st century in cognitive-discoursive aspect. The topicality of the research is determined by its involvement in the sphere of cognitive-discoursive paradigm, including in particular the theory of interdiscoursivity that exists at the confluence of theory of text and theory of discourse. The material for research is constituted by lexical units, as well as syntactic and word building patterns used in English scientific and literary texts. The methods of research include the deductive and inductive methods, classification, model analysis and introspection as well as methods of conceptual, component, transformation and discourse analysis. The use of these methods allows to reconstruct the structure and the content of concepts represented by interdiscoursive markers in the frames of discourse not characteristic of them. The results of the research allow to make the conclusion about the significant functional potential of representatives of scientific discourse and their role in the process of decoding the author's information in heterogeneous discoursive space by the reader who acts as a subject of interacting institutional discourses.

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 article explores the phenomenological aesthetics of Hans-Georg Gadamer, specifically focusing on its application in the context of timbral text analysis. The study thoroughly investigates how Gadamer's phenomenological perspective can enhance the understanding and interpretation of texts, by viewing them as intricate, multi-layered constructs that require analysis of their emotional and expressive elements. The authors delve into such fundamental concepts, as the fusion of the author's and reader's horizons, the hermeneutic circle, and the dynamic nature of these horizons within timbral analysis. A significant portion of the paper is dedicated to examining the role of historical context and personal preconceptions in the interpretation process. It underscores the importance of acknowledging historical and cultural horizons to achieve a comprehensive understanding of texts. The article presents an innovative approach to the interpretation of literary texts, merging Gadamer's phenomenological aesthetics with timbral analysis techniques. This research redefines traditional text analysis methodologies by attempting to bridge the gap between philosophical aesthetics and practical text analysis. This work offers a novel perspective on text analysis and interpretation. The authors' approach not only deepens the understanding of Gadamer's phenomenology but also demonstrates its utility in text analysis. The study is poised to influence future research in text interpretation, encouraging a more nuanced and holistic approach that takes into consideration both the aesthetic and emotional components of texts, as well as the cultural and historical context in which they are embedded.

This article explores the conceptual analysis in literary discourse using the example of the novel "Day of Execution" by Azerbaijani writer Y. Samedoglu. The author proposes a comprehensive approach to concept analysis, including examining the nominative field, semantic analysis, and intertextual relationships. Various techniques and elements such as embedded texts, temporal parallels, intertextuality, irony, and allegory are examined, which help reveal the concept's meaning and organisation in the novel. Additionally, the article emphasises the importance of cognitive-semantic analysis and the study of intertextual relationships in literary discourse. The research contributes to a better understanding of the conceptual worldview in the novel "Day of Execution" and its connection to linguistic means and structures. This article interests linguists, literary scholars, and anyone interested in cognitive analysis and academic discourse.

The phenomenon of the undefined status of literary criticism leads to a lack of clarity in its terminological apparatus. In particular, there is no unity on the issue of what to consider as the plot of a literary-critical utterance, as well as how to determine its motivational structure, or to identify a set of semantic fields. The subject of this research is the literary category of the chronotope, which is used to analyze the poetics of a critical text. This study was carried out on the basis of the collections of I.I. Vinogradov (1930-2015) "Like bread and water. Art in Our Life" (1963), "Art. True. Realism" (1975), "On a living track. Spiritual Searches of Russian Classics" (1987) with the involvement of textual criticism, biographical data and evidence of the historical context. Despite the artificiality of dividing the chronotope as dominant uniting texts, each of its parts is consistently characterized in order to accomplish the most complete presentation. Space, not in physical, but in textual terms, is understood as a set of factors that bind articles together at a formal level (genre format, heading complexes, typography design). The author's image is viewed as multifunctional: it builds an internal connection and a storyline. The functions of the chronological aspect are also shown: responsibility for the historical, cultural and biographical contexts, dating, meaningful transformation of articles. The conclusion deals with the possibility of using a complex view of the totality of chronotopic characteristics of judgment and the methodological preferences of the critic as a whole.

Статья посвящена изучению стилистических особенностей произведений современного литературного процесса на материале романов Маргарет Этвуд "The Blind Assassin", Анны Бернс "Milkman" и Хилари Мантел "Giving up the Ghost". В данной работе отмечается, что литература служит некоего рода лакмусовой бумажкой, запечатлевающей и отражающей всеобщее стремление к упрощению языка, его отдельных единиц и синтаксических структур. По мнению исследователей, подобные тенденции приводят к упрощению не только устных форм языка, но и языка художественной прозы, тем самым понижая ее эстетическую значимость и культурологический статус. В статье описывается процедура общефилологического анализа художественного текста и его основные методы. Среди исследователей нет единого мнения относительно поэтичности литературных произведений и роли в ее формировании различных языковых единиц. Некоторые ученые рассматривают тропы как один из обязательных элементов любого художественного текста, представляя их как нечто независимое и существующее даже в изоляции от текстового пространства. Согласно другому мнению, формирование стилистических приемов обусловлено взаимодействием языковых единиц, которые, лишь попадая в структуру текста, приобретают несвойственные им ранее образность и метафоричность. Проведенный филологический анализ материала исследования позволил опровергнуть распространенное мнение о крайнем обеднении стилистического потенциала современных англоязычных романов и установить, что задачей авторов современного литературного процесса является создание текстов, чья стилистическая организация не только сохранит статус литературы как искусства слова, но и сможет приблизить произведение к описываемой действительности.
The article is devoted to the study of stylistic peculiarities of the literary works of the modern literary process on the material of the novels "The Blind Assassin" by Margaret Atwood, "Milkman" by Anna Burns and "Giving up the Ghost" by Hilary Mantel. The article notes that literature serves as some sort of a touchstone depicting and reflecting the universal desire to simplify the language, its separate units and syntactic structures. According to scientists, such tendencies lead to simplification of both oral speech and literary prose, which understates its esthetic value and cultural status. The article describes the procedure of philological analysis of a literary text and its basic methods. There is no common opinion on the poetry of literary works and on what role linguistic units play in its creation among scientists. Some researchers consider tropes one of the essential elements of any literary work, viewing them as something independent and existing even in isolation from the text. Others believe that the formation of stylistic devices results from interaction of linguistic units, which acquire earlier extrinsic imagery and metaphorical character only in the structure of a text. The philological analysis of the research material made it possible to refute a widespread impression of utmost impoverishment of stylistic potential in modern English novels and to establish the aim of modern literary process writers, which is to create texts which stylistic organization will not only preserve the status of literature as the art of the word but will also be able to bring the text closer to the described reality.

Dystopian images: myth or reality? How to understand the risks in the field of progress from the perspective of semiotics of culture? In the article we propose a semiotic approach to the ethics of the relationship between humans and artificial intelligence products in a literary context. The literary dystopia of the early 21st century is built on the principle of "feeling for the future" (Shklovsky) and at the same time "taking a closer look at similar events in the past" (Lotman). From the point of view of semiotics, a person in a dystopia is an image of a "thinking reed": the ability to innovate is his evolutionary advantage. Human thought is comparable to geological force, and in this sense, Yuri Lotman's approach continues the intellectual tradition of Vladimir Vernadsky, from the biosphere to the semiosphere. Modern dystopias by Kazuo Ishiguro show us a society of the future with the division of human groups into 'reserve' and 'legitimate'. Clones and robots are proposed to be viewed not as soulless devices, but as works of art. Dystopian texts are the basis for thinking about the ethical behavior of a person of the future.

The article is dedicated to the analysis of thematic and formal originality of A.S. Bukhov's «literary» feuilleton. The satirist exposes the different aspects of modern to him literary life (untalentedness of authors, who create popular texts, low level of reader taste, state of humour, memoirs and critics), touches the contiguous types of art (cinema, stage), using genre stylization and parody here. Bukhov's feuilletons of politics and way of life, in which literary intertextuality functions, are elucidated in the article also.Key-words: feuilleton, literature, satire, humour, «pseudo creative power», genre stylization, parody. ; Статья посвящена анализу тематического и формального своеобразия «литературного» фельетона в творчестве писателя-сатириконца А.С. Бухова. Сатирик раскрывает различные аспекты современной ему литературной жизни (бесталанность авторов, создающих популярные произведения, низкий уровень читательского вкуса, состояние юмористики, мемуаристики и критики, творчество «на заказ»), касается смежных видов искусства (кинематограф, эстрада), используя при этом жанровую стилизацию и пародию. Также, в статье рассматриваются фельетоны Бухова бытовой и политической проблематики, в которых функционирует литературная интертекстуальность.Ключевые слова: фельетон, литература, сатира, юмор, творчество «на заказ», жанровая стилизация, пародия. Стаття присвячена аналізу тематичної та формальної своєрідності «літературного» фейлетону у творчості письменника-сатириконця А.С. Бухова. Сатирик розкриває різні аспекти сучасного йому літературного життя (відсутність таланту у авторів, які створюють популярні тексти, низькій рівень читацького смаку, стан гумористики, мемуаристики та критики, творчість «на замовлення»), торкається суміжних видів мистецтва (кінематограф, естрада), використовуючи жанрову стилізацію і пародію. Також, у статті розглядаються фейлетони Бухова побутової і політичної проблематики, у яких функціонує літературна інтертекстуальність.Ключові слова: фейлетон, література, сатира, гумор, творчість «на замовлення», жанрова стилізація, пародія. The article is dedicated to the analysis of thematic and formal originality of A.S. Bukhov's «literary» feuilleton. The satirist exposes the different aspects of modern to him literary life (untalentedness of authors, who create popular texts, low level of reader taste, state of humour, memoirs and critics), touches the contiguous types of art (cinema, stage), using genre stylization and parody here. Bukhov's feuilletons of politics and way of life, in which literary intertextuality functions, are elucidated in the article also.Key-words: feuilleton, literature, satire, humour, «pseudo creative power», genre stylization, parody.

The article dealt with a certain fragment of the linguistic world view, which is significant to be studied to provide a number of ways of describing of the national and cultural component of the concept "horse" in the English linguoculture. The article provides the description of a number of costume calendar customs prevalent in different parts of Great Britain after XIII century, with a central element the hobby-horse, which according to a number of authors (Lamb, Pikli), subsequently became a symbol of mass culture. The article considers the functioning of the studied fragment of the linguistic world view in the English phraseology and literary texts. The presented ethnographic material indicates to different functions, features and associative links of the hobby-horse, which is a central element of the described customs. The phraseological representation reflects the studied fragment of the linguistic world view in a partial way and indicates apparently to its later development. In its turn, the analysis of literary texts supported by ethnographic material, allowed to track the dynamics of new meanings emergence of the lexeme hobby-horse and its old meanings disappearance that were widespread in certain historic periods. The article concludes that the considered examples of the hobby-horse in literary texts though convey different meanings with either positive or negative connotation, however come from the common source ('prancing hobby-horse of the morris dance').

In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.