Russkaya Rech’

The article discusses the basic principles of forming a glossary for orthological dictionaries, to which include spelling, orthoepic, grammatical dictionaries, as well as stress dictionaries and dictionaries of pronunciation difficulties. On the one hand, the glossary of such lexicographic sources should contain the maximum number of words that need an appropriate comment, on the other hand, a normative dictionary can include only those words that have received a status of a literary norm. There has been a tendency to include colloquial and jargon vocabulary in normative dictionaries in Russian lexicography. As a result, there has been formed an opinion about the normative use of these words in the standard language. However, this is completely unacceptable: since colloquial and slang vocabulary cannot be the object of codification from the point of view of the standard language. The article also discusses the issue of codification in orthoepic dictionaries of territorially determined variants characterizing the regional varieties of the Russian standard language.

The problematics of the article lies in the field of studying the linguistic phenomena of pleonasm and tautology in diachronic aspect. The unified interpretation of these notions is absent in the modern linguistic tradition. The study of linguistic redundancy is effective on the basis of the non-standardized lexical semantic system of the language of the pre-national period. The article deals with stable combinations that reveal semantic duplication in the semantic relations of their components in the Russian language of the 16th-17th centuries. In the texts of this period various types of pleonastic constructions can be distinguished: 1) tautological phraseological units consisting of single-root words; 2) proper pleonastic combinations with a semantically redundant component; 3) dissected-descriptive constructions that have a one-word synonym of the same root, including expressions with broad-valued nouns; 4) conditionally synonymous constructions, including homogeneous components that are close in meaning. The article describes the features of the structure, semantics, functioning of various pleonastic stable combinations, as well as their further fate in Russian language. Some, used with amplifying semantics as etiquette formulas, remained markers of the business language of the 16th-17th centuries, others are known in texts of different epochs, acting as a sign that the context belongs to the folklore or stylization, the third ones are actively used as phraseological units in modern language.

The article discusses the history of the semantic transformation of the compound word rukoprikladstvo (‘manhandling’) – from the meaning ‘handwritten signature’ in the business language of Medieval Russia to the meaning ‘beating’ in the modern common Russian language. The word rukoprikladstvo, derived from the stable combination ruku prilozhit (‘set one's hand to’), denoted the symbolic confirmation of an official text by placing a palm, previously smeared with ink, on a blank sheet, the reverse side of the document. The article stresses that the medieval idea of a Russian person about the state as a ‘house’ headed by a ‘father-sovereign’ left a peculiar imprint on the office work of pre-Petrine Russia. Thus, the reliability of the content of a business text was ensured, on the one hand, by the testimony of the closest relatives or respected people of the clan (‘poslukhi’) and on the other hand by the unwritten laws of Christian morality. Since the time of Peter the Great, who was oriented towards Western models of the ‘state machine’, many official formulas have forever moved into the national language, acquiring new meanings motivated by the original semantics of their lexical components. Without a historical digression into the ‘ritual’ features of this obligatory action when sealing a business transaction and, as a result, without considering the functioning of the combination ruku prilozhit' (’put a hand’) in the official writing of pre-Petrine and post-Petrine Russia, it is impossible to trace the meaningful evolution of the word ‘rukoprikladstvo’ to its modern meaning ‘inflict hand beatings’. The history of the expression ruku prilozhit' (‘set one's hand to’) and the word rukoprikladstvo – both in the command language and in common Russian life – testifies to the history of the Russian official language as a separate cultural phenomenon with its own unique destiny.

The article analyzes full and transformed quotations, which act as a means of reflecting on the subject of a speaker, indicate his state depending on the situation and interaction with communication partners. When reproducing the original texts in K. Vorobyov's story “Here comes the giant ...”, the following parameters are taken into account: the situation (prepared / unprepared), the state of the speaking subject – the narrator (permanent / temporary / spontaneous; emotional / unemotional), speech environment (official / unofficial). It is established that the analyzed text contains a wide range of quotations, where allusions and reminiscences predominate. So, appearing in the speech of the hero-narrator, they convey his attitude towards others, situations in general and describe his state. It is noted that there are several authors (L. Andreev, A. Blok, S. Yesenin, E. Hemingway) and source texts (“The ingenious hidalgo Don Quixote of La Mancha”, etc.), which cause a ‘special disposition’ of the speaker's subject - their use due to his attitude and understanding of himself in the world. At the same time, the creative nature of the hero – the writer – does not allow him to stop, he is in constant search of himself, future plots and changes his “masks”, which causes the appearance of various citation inclusions.

This paper studies the impact of transcoding on the text interpretation. The study, based on the text material of Chekhov’s play “The Seagull”, offers reflections on challenges of transmutation process. The paper analyzes the interaction between verbal and non-verbal signs as codes of different nature. It is pointed out, that modes of code switching could fit into several focal algorithms of transformation: a substitution (a verbal sign replaces with non-verbal one), accompanying (a verbal sign is accompanied by a non-verbal one), addition (a verbal sign is supplemented by a non-verbal one). The research shows that a various theatrical signs (acoustic, visual, olfactory, kinetic, proxemic, involving light or color, etc.) actualize, clarify, enhance or neutralize the meaning of verbal utterances. They can be embedded in the theatrical text structure simultaneously or sequentially. The study is also concerned with the problem of translatability of signs. The article suggests that an adequate translation, which has the same effect on the recipient as the original text, provides a potential opportunity for the reverse translation of non-verbal signs into verbal ones, since the transcoding process is reversible. It is emphasized that transmutation allows us to interpret the text of a dramatic work, taking into account not only linguistic, but also extralinguistic reality. The author sets out to prove that the adequate intersemiotic translation can be obtained in case the functional sign equivalence is maintained.