Litera

The subject of this research is the category of narrator within the framework of Chinese narratological theory and practice. The object of the research is the genesis and tradition of narrative perspective in classical Chinese prose (origins in historiography and development in the novel), as well as its radical transformation in modern fiction of the early 20th century (based on the works of writers of the "May Fourth" period). Particular attention is paid to the analysis of the views of Chinese scholars (Dong Naibin, Tan Junqiang, Fu Xiuyan, Hu Yamin, Zhao Yiheng, Chen Pingyuan and Yang Yi) on the specifics of Chinese narrative art. This study is the first to introduce the research of the aforementioned Chinese scholars into Russian academic discourse. Its results can be applied in historical and comparative narratology for the study of narrative perspective. The key method employed is the comparative-historical approach, which allows for tracing the evolution of narrative perspective and comparing it with the Western tradition. The conducted research revealed that the evolution of narrative perspective in Chinese literature follows a global trajectory – from omniscience to a limited point of view, where first-person narration played a key role in the era of the discovery of the individual. However, in classical prose, omniscient third-person narration prevailed, rooted in the historiographical tradition. Even the occasionally used first-person narration did not signify genuine subjectivity: such a narrator typically remained detached and omniscient. First-person narration with a truly limited, subjective point of view of a narrator-protagonist was established only at the beginning of the 20th century but soon gave way to a third-person form in its new modification. The results of the study showed why the terms "perspective" and "point of view" are relevant in the Chinese narratological tradition, while the categories of "first/third person" are less significant than in Western theory.

The article is devoted to the study of the theater program as an independent and creative genre of theatrical discourse. It examines in detail aspects such as its genre characteristics, linguistic and structural-content features, as well as its multifunctional role in the system of modern theatrical communication. Special attention is paid to analyzing the program not as an auxiliary or purely informational material, but as a full-fledged semiotic object performing a number of key functions. The work investigates how the program, being a direct channel of dialogue between the creators of the performance and the audience, realizes informative, aesthetic, attractive, promotional, and identifying functions. The subject includes the study of the typical structure of the program, which is divided into two main blocks: information about the theater and information about the performance. Within the scope of the research, its role in forming the theater's brand identity is also analyzed in detail, which is manifested in the trend towards the individualization of formats, design, and content. The main method used is a directed survey to identify audience perceptions and practices of interaction with the program. Semiotic analysis and the concept of speech genres by T.V. Shmelevaya are also applied. The research material consisted of 50 theater programs from Moscow theaters from 2022 to 2024. The scientific novelty of the research lies in a fundamentally new approach to the theater program, which is examined for the first time as an independent, complexly organized, and creative genre of theatrical discourse. By consistently applying T.V. Shmelevaya's speech genre model, the study proves the program's right to genre independence, revealing its constitutive features. Practical conclusions confirm the program's key role in theatrical communication and the formation of the theater's identity. It has been established that its content is structured into two stable blocks (about the theater and about the performance), while the dominant form shows a tendency towards individualization and branded style. Thus, the program serves as an important semiotic intermediary between the stage and the audience, the theater collective and the viewer. The results are of interest to specialists in the fields of semiotics, linguistics, media communications, and cultural studies.

The subject of the article is the artistic embodiment of the holistic worldview (Cosmo-Psycho-Logos) of the mari people in the prose of M. T. Ushakova. The analytical focus centers on how the writer, by synthesizing the traditions of Russian "village prose" and the techniques of magical realism, reveals the profound connection between the universe (Cosmos), the human inner world (Psyche), and the artistic word (Logos). The key object of study is the novella "Monologue of an Old House," where the innovative image of the house-as-narrator serves as a central metaphor for the sacred bond between kinship, dwelling, and nature. The research also explores how ethnocultural elements (animism, ritual practices, magical thinking) shape the poetics of Ushakova's texts, allowing for the comprehension of the people's historical existence through the private fates of characters and the actualization of its spiritual foundations in the contemporary literary context. The methodology is based on a systemic approach, incorporating the comparative-historical (A. N. Veselovsky), cultural-historical (M. M. Bakhtin), archetypal (E. M. Meletinsky), and national-cultural analysis (G. D. Gachev). The scholarly novelty of the article lies in the comprehensive study of Ushakova's prose through the original concept of "Cosmo-Psycho-Logos," which reveals the integrity of the mari worldview. The main conclusions of the article are as follows. Ushakova's prose represents a synthesis of the realistic tradition and magical realism, where the ethnocultural specificity of the mari mythopoetic consciousness forms the very fabric of the artistic world. Through individual destinies, the writer reveals both private and national tragedies, presenting national culture as a salvific force preserving the spiritual core of the ethnic group. Thus, the work of M. T. Ushakova performs the function of a contemporary artistic Logos – a universe that verbalizes, preserves, and actualizes the unique cosmic and psychological self-awareness (identity) of the mari people, integrating it into the context of modern Russian literature.

In the Orthodox Church at Easter, the Prologue of the Gospel of John is read in different languages. In the Russian Orthodox Church ten languages are used, including Old Greek, German, English, Church Slavonic and Russian. The observed variations in readings are thematically associated with the grammatical principles of language structure. The present work analyzes the difference in the use of personal and possessive pronouns, substitutes for personal and possessive pronouns. As well as masculine and neuter adjective and verb endings in the Russian translation. The results contribute to a better understanding of the theological meaning of the texts. The studies of Bible translations are important because the language of the Holy Scriptures is something special, often it sounds like a hymn. The Prologue of John's Gospel is regarded as a hymn of the apostolic church characterized by inner harmony on multiple levels. There are three types of translations: those based on the original language, those where the target language is in the foreground, or those for specific readers and target groups. There are particular difficulties in translating the Greek word ὁ Λόγος used in Christianity to relate to Jesus Christ. It is explained that ὁ Λόγος is the original principle of all things, and it connects the Jewish thought of God's revelation with the Greek idea of rationality. This study places particular emphasis on the harmonic structure of the hymn in John's Gospel, wherein ὁ Λόγος is positioned at the beginning, while the full name of Jesus Christ is employed exclusively at the conclusion. The translation of this word into Russian, Church Slavonic, German and English cannot give the full meaning of the original text. Various translation possibilities are being discussed in order to better match the sound and meaning of the original text. The article further proposes that these issues be presented before the Synodal Biblical and Theological Commission for further consideration.

The article discusses changes in the organization of the text of a prose work using the example of N.M. Karamzin's historical novels. The object of the research was the literary text of the sentimental historical novels "Natalia, the Boyar's Daughter" and "Marfa the Posadnitsa, or The Conquest of Novogorod", which are new to Russian literature. The subject of the research is the syntactic organization of the text of the story: assessment of changes in sentence structure, length and ratio of allied and non-allied complex sentences; establishment of a new word order in a sentence.; the introduction of a new type of syntactic figures into the text, which include paroemias, aphorisms, catch phrases and new models, primarily the periphrasis of French, Arabic, English, Greek and Latin origin. The syntactic reform brought artistic and conversational styles closer together in simplicity and euphony and contrasted them by the presence of decorative elements. The research methodology includes the use of continuous sampling, structural, semantic and functional analysis of syntactic constructions and the statistical method. The study showed that the most significant innovations include a change in the structure of the sentence; shortening the length of the syntagma; ordering the sequence of the main and secondary members of the sentence; organizing the sentence according to the principle of its easy pronunciation; the inclusion of stable syntactic figures in the sentence in order to decorate it; the rejection of multilevel subordinate constructions; an increase in the number of conjunctionless complex sentences and complex sentences with a compositional connection. The novelty of the research was the analysis of a set of aspects proposed by the author (new elements; new vocabulary; changes in the structure, length, order of a sentence and its parts, etc.), which allows us to describe the change in the syntactic organization of a literary text within the framework of studying a certain stage in the development of Russian literature in general and the idiosyncrasy of a particular writer in particular.

This article is devoted to the peculiarities of the use and perception of phraseotransforms in media discourse. The subject of the research is the phraseological layer of the Russian language and the issue of phraseological contingency in media texts. The object of the research is phraseotransforms in the headline complexes of newspaper articles. The purpose of the presented research is to analyze the newspaper headlines with the presence of a phraseotransform in terms of increasing the potential reader's interest in the media text. The author focuses on such types of phraseological transformations as syntactic, lexical (in particular substitution) and semantic (double actualization). A selection of phraseotransforms from articles in several Russian news publications was carried out and the transformation processes of the phraseotransforms under consideration were analyzed. It was suggested that the use of phraseotransforms in newspaper headlines is widespread due to their high emotional load, which helps the authors of articles to realize newspaper expression along with other functions of the media text. To confirm this assumption, a survey was conducted among teenagers who are not active readers of newspaper publications, for the most "independent" view on the relevance of introducing phraseotransforms into the headline complex in order to attract and retain readers' attention. The following methods were used in the study: Identification of phraseological morphology (continuous sampling); Phraseotransform analysis; Comparison of the usual and occasional phraseology; Survey and measurement of quantitative indicators of the reactions of the survey participants. The research material was phraseotransforms in the headline sets of articles in the online newspapers Izvestia and Argumenty I Fakty. The novelty of the presented research lies in highlighting the level of relevance of the types of phraseological transformation in media texts in terms of attracting the attention of a potential reader. It is determined that the premises of a phraseotransform that has undergone the process of substitution (or replacement of a component of a common phraseological unit), along with double actualization, are leading in the issue of attracting the reader to the main text of the article. The results of the study confirmed the hypothesis that, in comparison with headlines using common phraseological units, occasional phraseological units, or without phraseological combinations at all, potential readers were most interested in headlines with phraseotransforms. The results of the study can be applied both in further studies of the processes of phraseological transformation, and in applied journalism in the design of media text headings.

This research paper is devoted to the study of strategies for translating Americanisms in a literary text based on the novel "Crossroads" by American writer Jonathan Franzen. The subject of the research is techniques and strategies for translating realities in an English-language literary text into Russian. The purpose of the work is to study the features of translating Americanisms from English into Russian and to identify the most frequent and effective methods of their translation. Special attention is paid to the concept of "reality" and the role of realities in creating the artistic originality of the text of the work. Translation strategies such as forenization, the essence of which is to focus on the culture of the outgoing language in order to bring readers closer to the original, and domestication, when the translator seeks to match all culturally labeled units with similar concepts present in the culture of the translated language, are also considered. By the method of continuous sampling, the Americanisms in Jonathan Franzen's novel "Crossroads" were selected and a qualitative and quantitative analysis of their translation techniques was carried out, the most frequent translation techniques were identified. The novelty of the work lies in the fact that it examines the methods of translating all groups of realities identified in the text of the novel: onomastic, geographical, socio-political, ethnographic, the realities of the education system, religion and culture; explanations are given about the effectiveness of choosing a particular technique. The most numerous groups of Americanisms in the novel were the realities of the educational system, religion and culture, ethnographic realities and onomastic realities. The most frequent translation techniques were calculus, approximate translation, as well as transliteration/transcription and transformation. The least used translation techniques are omissions and descriptive translation. The authors conclude that the translation of the novel "Crossroads" is dominated by the strategy of domestication, when the culture of the target language is in the foreground.

This article examines ethnocultural identity in the artistic space of the postcolonial novel from the perspective of literary translation. Based on Abraham Verghese’s “Cutting for Stone” and its Russian translation by S. Sokolov, the study identifies and systematizes the specific difficulties involved in rendering the linguistic markers of identity. The object of the research is the linguistic and stylistic means of expressing ethnocultural identity in the original text of the novel, while the subject comprises the strategies and methods for translating these elements into Russian. The central argument is that recognizing the distinct genre-stylistic conventions of postcolonial literature is essential for developing effective translation strategies and achieving textual adequacy. The research employs a comprehensive methodological approach, integrating semantic, contextual, comparative, stylistic and translation analysis. The analysis reveals that the most significant challenges for a translator are posed by passages conveying cultural and linguistic polyphony, hybridity, and the fundamental oppositions that shape both character identity and the text’s conceptual space. The study highlights how elements such as foreign-language inclusions, erratives, graphons, and other deviations from linguistic norms act as manifestations of linguistic and cultural hybridity and as means of character self-identification. Furthermore, culture-specific items (realia) are used not only to embody cultural memory but also often acquire metaphorical and symbolic meanings, highlighting central narrative conflicts and functioning as markers of individual and collective identity. The novelty of this research lies in its endeavor to formulate practical recommendations for more authentically recreating the effects of linguistic and cultural hybridity and internal identity conflict in translation. The study concludes that while translating culturally marked units in a postcolonial novel, it is essential to consider its genre specificity, thematic and ideological content and macro-context.

The subject of the research is the characteristics of the Chinese reception of F.M. Dostoevsky's novel "The Idiot" from a psychological perspective. It analyzes how modern Chinese readers perceive the inner world of the characters, their motivations, emotional conflicts, and key scenes of the novel, as well as how they relate their own experiences to the portrayed suffering, love, madness, and hope. The empirical basis consists of a corpus of 999 reviews posted on the Douban platform (Books section) for ten editions of the novel in Chinese. Special attention is given to the images of Prince Myshkin, Nastasya Filippovna, Aglaya, and Rogozhin, and how readers' comments reflect the psychological perception of these characters through Confucian, Buddhist, and Taoist ideas about humanity, the meaning of suffering, duty, and moral choice. The methodological foundation of the study is a corpus analysis of 999 Chinese reader reviews of "The Idiot" using Python, which includes quantitative and qualitative methods to identify frequent emotional-evaluative vocabulary, key themes, motifs, episodes, and typical patterns of psychological response. The scientific novelty of the work lies in the comprehensive examination of the psychological aspect of the Chinese reception of the novel "The Idiot," based on a large corpus of online reviews, allowing for the reconstruction of the living perception of Dostoevsky in a different linguistic and cultural environment. It demonstrates that Chinese readers, while experiencing difficulties due to the complexity of names, polyphony, and detailed psychological renderings, simultaneously show a high level of empathy and compassion for the characters. Their evaluation of the characters' actions and feelings is viewed through Confucian, Buddhist, and Taoist notions of humanity, duty, and harmony, leading to a unique interpretation of the Christian themes of the novel. It concludes that the psychological perception of "The Idiot" is determined by ethno-confessional cultural categories, specific cognitive attitudes, and the level of reading competence of the Chinese audience. Thus, it clarifies Dostoevsky's place in the contemporary Chinese cultural space.

The article is devoted to the description of a voice message in order to introduce a definition of this communicative phenomenon. Despite the contradictory nature of this phenomenon, its popularity has been growing since 2013 to the present day. However, a voice message still does not have a clear definition, as it has specific characteristics that make it impossible to classify this phenomenon as either a genre of speech or a form of communication, which makes it a unique phenomenon. The object of the research is the nature of voice communication in modern communication. The subject of the study is the characteristics of voice communication and the history of the development of voice communication in the context of the introduction of new technical functions motivated by the needs of users, which makes it possible to distinguish this communication format into a separate type of discourse.    General scientific methods of analysis and synthesis, comparison, generalization were used. The categorical method "formal-logical definition of a concept" was also used to formulate a scientific definition of a voice message. Individual studies by domestic and foreign researchers focus on the study of certain aspects of pragmatics, socio- and psychological reasons for the use of voice messages. In this study, the author attempted to analyze these components more broadly, as well as the history of the development of voice messages, and defined this phenomenon in the paradigm of discursive phenomena, since a voice message is a vivid representation of our speech, immersed in life. The results of the study allowed us to conclude that the voice message belongs to a hybrid mode of discourse, which communicates asynchronously and contactlessly through an auditory channel, and at the same time has a high involvement of interlocutors in communication. The conclusions of this study are intended to contribute to a more productive work of linguists with categorical methods, as well as a more accurate and systematic description of the voice message.

In Bashkir heroic tales, the main character always has wondrous objects or assistants that vary in origin, appearance, and purpose. They help the hero in difficult situations, allowing him to survive, win, and achieve his goals. One such item-assistant is a scarf. The scarf is a common attribute that is used in the daily life of a person not only among the Bashkirs but also among other peoples, which is why it frequently appears in tales, customs, rituals, songs, beliefs, etc. The aim of the study is to identify and examine the main functions of the magical scarf and determine its place in Bashkir heroic tales. The object of the research consists of editions of Bashkir heroic tales published from the second half of the 19th century to the present. The material for analysis included 13 texts that mention the aforementioned magical item. The theoretical and methodological foundation of the work is based on the scientific works of V.Ya. Propp, G.R. Khusainova, V.E. Dobrovolskaya, F.Kh. Guliyeva, and others. To achieve the set goal, a comprehensive approach was used, combining general scientific methods (identification, systematization, analysis, generalization). The practical significance of the work lies in the expansion and deepening of knowledge about Bashkir tales. Its results can be applied in folklore studies when examining tales and in the development of educational courses on Bashkir folklore. The conclusions of the research show that the scarf is an actively used cultural item in many genres of Bashkir folklore, including tales. It acquires meanings as a wonderful means of conveying information about the hero's condition, a symbol for recognizing one's bride (or vice versa), a way of revival, obtaining food, etc. The presence of any object in a fairy tale text is determined not only by its everyday function but also, and importantly, by the sacred function of the item in traditional spiritual culture.

Nikolai Pavlovich Zadornov is one of the few literary "pioneers" of Siberia and the Far East, along with V. K. Arsenyev, A. A. Fadeev, V. N. Ivanov, D. D. Nagishkin, and others. In this regard, the study of the literary reputation of the image of Zadornov as a writer is of particular interest. The chronological framework of the study is the period from 1945 to 1992, from the moment of the appearance of the second of the known critical reviews of Nikolai Pavlovich's work to the death of the writer. The subject of the study is the literary reputation of the novelist N. P. Zadornov in the mainly Soviet period of Russian history. The object of the research is literary and critical articles, reviews of N. P. Zadornov's contemporaries on his works. The analysis of the subject is carried out by means of the system-typological method. Despite the writer's significant contribution to Russian literature, so far his reputation portrait has not been unbiasedly reflected in print and on the Internet: for example, several paragraphs on Wikipedia are devoted to the issue of reputation. The objective and most complete analysis of Zadornov's literary reputation determines the scientific novelty of the research. The result of the work carried out is the image of an objective reputational portrait of the writer. Zadornov was able to display the peculiarities of everyday life, as well as depict natural beauties, study both the external and internal portrait of a hero, minor or episodic character, as well as following specific historical facts, as well as "living" fiction corresponding to the era and characters, and the ability to convey dialects... Zadornov was remarkably observant. The conclusions presented in the article can serve as a basis for further research of Zadornov's literary reputation: by referring to his literary and artistic works and literary critical articles and reviews, as well as materials for his biography (there is still no full-fledged biography of N. P. Zadornov).

In a lyrical text, the expressive means of the author’s intentions are images, endowed with symbolic load and semantic multidimensionality. The study of the functional and semantic significance of animalistic images is a productive research strategy that allows us to present an objective picture of the level of development and national-aesthetic originality of artistic discourse as a whole. This scientific problem based on the material of Mordvin women's creativity has not yet studied. In this regard, it is interesting to trace the frequency, symbolic load, traditional semantics and the author's reading of animal images, poetically described in the works of female authors. The description of animalistic images in the poetry of the Erzya author Alina Podgornova, a representative of postmodernism, is significant. The subject of the study in the article is the functional and semantic features of the images of animals and insects in the author's poems and fables. The methodological basis of the work is determined by the method of holistic analysis of the artistic text, by means of which the structural and substantive components of the lyrical work are described, and the semantic and symbolic organization of the poetic image is revealed. The scientific novelty of the study is determined by the fact that the aspects of animalistic imagery in A. Podgornova’s poem are analyzed for the first time. The article states that the author's lyrics feature a variety of images of animals (tiger, dog, cat, horse, snake, collective image of wild animals), insects (ant, butterfly, ladybug, spider, bees), possessing a symbolic meaning that is correlated with the established meaning in world culture, while at the same time there is an individual creative interpretation of images.