No 1 (2024)

The professional sphere “Urban planning” is one of the youngest, promising and rapidly developing branches of construction, which necessitates the study and systematization of this terminological system in the Russian language. Aim and objective of the work is to build a conceptual model of the terminological system “Urban planning”. The scientific novelty of the study lies in the definition of the hierarchical structure of this terminological system based on conceptual modeling, as well as in the identification and analysis of special units that are not recorded in dictionaries. The material for the study was urban planning terms selected by continuous sampling from dictionaries, encyclopedias, scientific articles, educational and methodological literature of building codes and regulations, thematic sites, videos dedicated to this field of activity. The analysis is based on general scientific methods, including observation, comparison, analysis, generalization, systematization. Also, the basis of the study is linguistic methods: definitional and component analysis, modeling based on the conceptual approach. The conceptual model of the term system of the sphere “Urban planning” is considered as a structured field, reflecting the general logical connection of all terminological units among themselves. The constituent elements (from the highest to the lowest position in the hierarchical system) of the model are terminological groups, subgroups and microgroups. As a result of the analysis of the studied material, the boundaries of the urban planning terminology system were determined and its systematization was carried out. A multilevel hierarchical construct of terminological units of the subject area “Urban planning” is defined, consisting of the following groups: “Fundamentals and methods of urban planning”, “Territorial planning”, “Functional and planning organization of the territory”, “Architectural and construction design”, “City improvement”, “Urban reconstruction”, “Urban ecology”, “Urban studies of the city”, which in turn are divided into terminological subgroups and microgroups. The terminological group “Fundamentals and methods of urban planning” was analyzed in details. About 290 terms have been studied, among which 35 are not recorded in academic terminological dictionaries. The conceptual scheme of this terminological system has a multi-level hierarchical structure and consists of 8 terminological groups, 23 terminological subgroups, 9 terminological microgroups, in total 20 thematic blocks are allocated]. The intersection relations of terminological subgroups as part of the studied terminological system are also established.

The article is devoted to the description of the speech genre (hereinafter referred to as the SG) of Internet revelation and the identification of its main genre-forming features and features of the language embodiment. The novelty of the study is determined by the fact that for the first time the texts functioning in Internet communication and containing anonymous expressions of their revelations, secrets and emotions are subjected to a systematic description. The relevance of the work is due to the growing popularity of such resources and the lack of representation of linguistic works on their study. The study of the SG of Internet revelation was carried out on the material of texts published on the website “Overheard”, as well as “Overheard from teachers” in the social network “VKontakte”. The work is done in line with communicative linguistics. When analyzing the material, the methods of linguistic description, discursive analysis were used, including the characteristics of extralinguistic factors and reflecting the functioning of the studied SG in the Internet. Pragmatic, media, structural-semantic and stylisticlinguistic parameters are considered in the description of SG Internet-revelation. The categorical features of the Internet Revelation SG are: anonymity, first-person narration, virtual space of communication, focus on a large audience, mediocrity and asynchrony of communication. The texts perform an informational function and are characterized by thematic diversity. The communicative goal of the studied genre is to receive or present information containing the author’s revelation anonymously in front of a huge audience. The means of linguistic embodiment are described, related to phonetic (onomatopoeic literal combination for expressing emotions), graphic (repetition of letters and punctuation marks, use of capital letters and dots, adding emoticons), lexical (colloquial, reduced, colloquial, evaluative vocabulary; figurative words and expressions ) and grammatical level (past tense verbs; adverbs of measure and degree; exclamatory and interrogative sentences, etc.), stylistic features of the texts (first-person narration; colloquial and written style that has the characteristics of Internet discourse, narrative and autobiography) are revealed. It has been proven that Internet revelation is a unique genre formation that has a certain composition, its own style, and a special linguistic embodiment. The proposed methodology for analyzing the speech language of Internet revelation can be used to describe other informative speech genres of Internet communication.

This article is devoted to the study of word order rules at the level of actual division of the sentence in Russian and Persian languages. The study and comparison of the communicative structure of Russian and Persian sentences, as well as word order rules at this level of the sentence, is relevant not only in the theoretical aspect, but also in the practical one, including to increase the efficiency of the formation of foreign communicative competence of students studying these languages as foreign ones, and also to improve the quality of translation from Russian into Persian and vice versa. The objectives of our research are to analyze and compare the actual division of a sentence, methods of its expression, as well as to identify the features and word order rules at the level of the communicative structure of a sentence in the languages under study in a comparative aspect. This study shows that there are correspondences and differences in the features and word order rules in the communicative structure of sentences between the languages under study. Both languages in neutral speech have the same patterns in the order of the components of the actual division of a sentence: the theme is always expressed at the beginning or towards the beginning of the sentence, and the rheme follows the theme and stands at the end or towards the end of the sentence. However, in expressively colored speech, each of these languages has its own specific features. This problem is associated with typological differences in the morphological structure of the Persian and Russian languages. Components of a sentence in the Russian language as one inflected language can, depending on the style, speech situation and purpose of the author, move in the sentence. Thus, in expressively colored speech when the author’s purpose changes, the word order in the communicative structure of the sentence also changes, since the movement of thought from the actual information to the initial information is reflected, the rheme is at the beginning of the sentence and the theme is expressed after it, in fact, actual information precedes initial information. In addition, based on the analysis of word order in the Russian language, we can say that the direct and inversion word order is associated with the function that these components of the sentence perform in the theme-rheme relationship. In other words, studying the rules of word order at the level of the actual division of the sentence in the Russian language allows us to identify the features of the syntactic (formal-grammatical) and stylistic structure of the sentence. However, Persian is considered a language with constant word order in a sentence, and there is no inversion word order at the level of the actual division of the sentence. In this language, contrary to the Russian language, initial information (theme) always in both neutral and expressively colored speech is expressed at the beginning of the sentence and the actual information (rheme) always follows it and comes at the end of the sentence.

The semantics of the image of a rose considered in the researches dedicated to the semantics of flowers has mythological roots. 67 verses by Tsvetaeva, from her early works to 1925, contain the image of a rose. The research purpose is to reveal the dynamics of semantic and stylistic features of the word-image rose expressed in a plural form (roses) analyzing lexical structure of the text. The poems containing this image have a lot of aesthetic differences. The research material includes 41 verses, from the early works to 1925. The texts are selected from Dictionary of the Poetic Language of M. I. Tsvetaeva. Philological analysis is based on the theories of M. N. Kozhina and N. S. Bolotnova. The authors consider the texts chronologically, which allows them to follow the dynamics of semantic and stylistic features of the image in different periods. The authors use the periodization developed by O. G. Revzina. In the collection of verses The Evening Album, roses express semantics of beauty and love; they are associated with a bright unreal space, with the image of a crown, the motif of martyrdom, sacral topics. The image of roses becomes a detail of stories and portraits. In the collection Youthful Verses, the word roses is, mainly, a detail of a portrait. Besides, the image of roses in this period is tied to the topics of death and writing. In the poems of 1916–1919, roses are an aesthetic element of sketches, a detail of the plot; they characterize the images considered by the heroine and have an evaluative function. The lyrical subject generalizes her feelings associating roses with the retrospection considered by the heroine in a new period of her life. In the theatrical 1918, Tsvetaeva often uses the plural form roses in dramatic sketches. The image of roses is developing as a vivid detail. In 1919 the image of roses has a descriptive function in genitive metaphors and a comparison with the semantics of strength, energy, and love. In the verses of the 1920s, the image of roses is associated with the topics of writing, talent, and a special role of the poet. The topics of love, writing, being are interrelated and expressed in the verses until 1925. In the poems where the image of roses expresses the topic of unrequited love, roses become a symbol of love as the beginning of life; being loyal to love is a great sense and a heavy burden. The image of roses, compared with the early verses, becomes deeper in the semantic aspect, more metaphorical and symbolic; Tsvetaeva often includes it in the expressive constructions typical for her.

The article substantiates the possibility and expediency of using texts of a new nature for the development of students’ communicative competence. The inclusion of these texts in the didactic arsenal of a verbal teacher is due, on the one hand, to the tasks of forming meta-subject learning outcomes in a comprehensive school (we focused on the results related to the skills of information processing of texts), and on the other hand, to the peculiarities of the modern communicative space in which texts of a new nature occupy a significant place, making up the actual text the repertoire of schoolchildren. The material of the article contains the result of a theoretical study – a comparative analysis of scientific data on the varieties of texts presented in linguistic, speech, and cultural literature. It allowed us to build a hierarchy of texts: a linear text, a nonlinear (monocode, dicode, polycode) text, a creolized text, a media text, a hypertext, a cybertext, an intertext, an augmented reality text. In addition, the article reveals the course and results of an experiment aimed at determining the level of formation of the skills of 7th grade students to carry out information processing of texts, depending on the ways of its encoding. The results of the experiment showed that the students who worked with augmented reality texts coped best with the task (comparison was carried out with the results of the task by students who worked with linear text and dicode text). The conducted research gave grounds to assert that texts with augmented reality have great potential for teaching schoolchildren to write secondary texts-reasoning based on information processing of the primary text. This is due to several factors. Firstly, the perception and understanding of any texts is nonlinear, not instantaneous, but passes through several layers of decoding. Secondly, the digital generation deals daily with nonlinear structures in various spheres of life, which indicates the psychological and physiological readiness of modern schoolchildren to perceive nonlinear information. It is concluded that modern texts (texts of a new nature) have great potential for the formation of textual skills of students.

The comprehension of the lessons and consequences of the Civil War in Russia is under the close attention of historians and philosophers; numerous works of fiction by writers of different ideological and aesthetic ideas are devoted to the national catastrophe in the fate of the country. Despite the fact that the journalism of the Civil War is huge, a special and less researched layer in it consists of articles and egodocuments of writers. The subject of this research is L. Andreev’s comprehension of the most important events – the revolutions of 1917 and the Civil War in Russia. The writer’s journalistic articles published in the Socialist-Revolutionary newspaper “Russian Will” (1917–1919) make it possible to trace the evolution of his perception of key events in the history of Russia of the twentieth century. In the articles of the first half of 1917, L. Andreev is inspired by the events of the February Revolution and seeks to convey this state to readers. With the change in the political situation in Russia by the middle of 1917, the tone of the writer’s articles also changed. Andreev fears the possible death of Russia due to a change in the vector of development of the revolution, so he resorts in his articles to the struggle of the word – beliefs, appeals and slogans to encourage his readers to continue the struggle for the freedom of the country. The death of the writer in 1919, when the Civil War was already underway on the territory of Russia, but was of a local nature, and the main events of 1919–1920 were still ahead, allows us to speak only about the writer’s foresight of the future tragedy in the history of the country. However, the evolution of the views of Leonid Andreev, an authoritative writer who became a symbol of the 1905 revolution, will be close to many representatives of the creative and scientific intelligentsia in Russia. As the study showed, in their articles of 1917–1919 Andreev foresaw and emotionally and passionately sought to prevent the onset of fratricidal war.

Brazilian playwright Nelson Rodrigues is the author of a very peculiar dramatic work, whose main characteristics are related to a poetics of the excess and a modernization of tragedy. There are two trends in his works: one that is closer to universal and mythical aspects of life, and another one that is closer to the historical and daily aspects. His own life was full of tragic events which made him feel that tragedy is a dimension that intrinsically belongs to humanity’s trajectory in this world. So the tragic sense of life was part of his world view and his philosophical conceptions. It was then natural that this tragic world view would be present in his literary creation at the several genres he explored, especially in his dramatic works. But his tragic approach is always mixed with melodramatic events and an excess of feelings, actions, and the grotesque, so that it frequently becomes comic at the same time. Nelson Rodrigues was influenced by both the high fine literature of the Western tradition and the subliterature of the beginning of the 20th century, and his mixture of them together makes up an original and very interesting creation. This paper fundamentally approaches the tragic as belonging to the playwright’s life — as well as his world vision — and also belonging to the works of Rodrigues by analyzing events in his, his readings, the opera and cinema techniques he was familiar with in order to reflect about their influences on his work, as well as to discuss formal aspects and subjects that make it possible to consider his dramatic works as belonging to the tradition of tragedy at the same time that he subvert and recreates the tragic standards in his own fashion.