No 8 (2025)

The subject of the present study is the thematic-semantic characteristics and axiological component of French paremiological units containing the component “mariage,” which reflect traditional representations of marriage. The object of the research consists of paremiological units that include the lexeme “mariage,” which serves as the name of the linguocultural concept of “marriage.” The aim of the study is to identify and systematize traditional views on marriage through the analysis of the linguocultural content and axiological parameters of these paremiological units. The work examines key terms related to various scientific approaches to the study of paremiology, emphasizing the role of the linguocultural concept of “marriage” in the French linguistic worldview. Special attention is given to identifying and systematizing culturally significant meanings that reflect the values of the French people and their evaluative attitudes toward the institution of marriage. For the purpose of this research, a corpus comprising 218 paremiological units containing the component “mariage” was utilized. Among these, 165 units were selected using a comprehensive sampling method from 19th-century French lexicographical sources, ensuring the authenticity of the original material and its cultural-linguistic representativeness. To achieve the stated objective, both general scientific and specific research methods were employed: descriptive method, method of classification and systematization, method of lexical-semantic analysis, and methods of linguocultural and axiological interpretation. The scientific novelty of this research lies in the comprehensive analysis of a substantial corpus of non-adapted authentic French paremiological units containing the lexeme “mariage,” which have not yet been the subject of specialized study. As a result of the analysis, a thematic-semantic classification of paremiological units with the component “mariage” has been conducted, identifying subgroups of paremiological units that contain implicit or explicit ambiguous evaluations of various aspects, such as: the necessity of marriage, the feelings of spouses during the premarital period and their evolution within marriage, happiness and unhappiness in the marital union, criteria for choosing spouses and their impact on the quality of marriage, as well as social and material aspects of marriage. The study reveals the semantic content and axiological significance of these paremiological units, which manifest through the interaction of the literal and metaphorical meanings of their lexical components. The practical significance of this work lies in the expansion of the database on French paremiology and the potential use of its materials in the teaching of university courses in linguocultural studies and intercultural communication.

Subject of the study is the intermedial relations between verbal and illustrative sign systems in David Mazzucchelli’s graphic novel Asterios Polyp. Object of the study is the interaction of verbal and visual signs in the structure of a creolized artistic text. Aim of the study is to identify the principles of semiotic transformation, in which a verbal sign loses its autonomy and becomes illustrative, while a visual sign, conversely, transcends iconicity and acquires linguistic and narrative functions. The analysis focuses on grapheme-image isomorphism, phonetic motivation, calligrammatic transformation, and font-based individualization. To achieve the stated aim, the study applies exhaustive sampling of key episodes, comparative and interpretative analysis, and paragrammic analysis. The selection of these methods is motivated by the need for a comprehensive examination of transitional forms of verbal and visual signs, revealing their cognitive and semiotic mechanisms, assessing functional and conceptual significance, and exploring how these elements generate new semantic levels within the graphic novel. Scientific novelty lies in developing a systematic typology of artistic-semantic principles underlying semiotic cross-transition in Asterios Polyp. Analysis demonstrates that: 1) grapheme-image isomorphism provides cognitive recognition; 2) phonetic motivation translates verbal signs into the visual-iconic sphere via acoustic representation; 3) calligrammatic transformation desemanticizes verbal signs based on context and indexical reference; 4) font-based individualization forms visual polyphony and carries subject-marking functions. These processes reveal the dynamic nature of semiotic cross-transition, reflecting character psychology and the author’s creative intent. Practical significance of the study lies in its application to research in visual semiotics, intermediality in contemporary culture, and in teaching courses on paralinguistics, paragrammic analysis, and the study of artistic texts.

The use of dictionaries has a long history and is considered one of the important tools in the process of learning foreign languages. Therefore, having a complete and authoritative dictionary is of great importance for students studying the Russian language and translators. There are many bilingual dictionaries available in Iran, but the dictionary of G. A. Voskanyan is widely used by students and teachers as a reference. It contains a large number of words and their equivalents. All dictionaries may contain incorrect equivalents and words. Such errors are also found in the dictionary of G. A. Voskanyan. Since plants play an important role in human life, this article analyzes and discusses the names of plants in the Russian-Persian dictionary of G. A. Voskanyan. The main goal of the research is to identify and confirm the correct equivalents of these names, as well as to find accurate equivalents for cases where the correspondences are incorrect or incomplete. In addition, English equivalents and scientific names were compiled for all plant names presented in the dictionary. This research contributes to improving the quality of the dictionary and significantly facilitates the translation of texts. The research method is a comparative method between the names of plants from the dictionary of G. A. Voskanyan and reliable botanical sources, as well as the results of field studies. The study of the bilingual dictionary of G. A. Voskanyan, especially in the field of plants, is a new idea that has not been previously worked on. The materials for this research were collected in two ways: from the library of the Tehran Botanical Garden and from professors of botany at Tehran University.

The subject of research in this article is the dominant spatial images of "home" and "road." The object of the research is André Gide's novella "Immoralist." The aim of the work is to justify the status of "home" and "road" as dominant spatial images, to identify their relationship, and to determine and explicate their structural fields. The authors of the article outline a range of tasks: to explore the deeper meanings and archetypical values behind the lexical exponents of the spatial dominants "road" and "home"; to study the mythopoetic images that are part of the network of dominant topos, objectifying their meanings; to establish the peculiarity of projecting the principle of sacredness onto the topological model of the novella; to determine the relationships between the topos "home" and "road" in the spatial organization of the work; to identify ideologically significant binary oppositions represented by the topos; and to define the role of the stated dominants in the novella. The methodological tools consisted of structural-semiotic, mythological, and cultural-historical methods, which allowed for the description of the structural and semantic features of the topos "home" and "road." The novelty of the research lies in the fact that a topological approach to the analysis of the novella "Immoralist" is being implemented for the first time. The result of the work is a topological model of the work, including branched lexical-semantic paradigms of the identified dominants. The authors of the article come to the following conclusions: the topos "home" and "road" are dominant; the archetypical image of "home" is conceptualized as a moral value core, a criterion of self-identification based on the distinction between one's own/foreign, moral/immoral; "home" in the plane of heterotopia reveals the topos of the "heavenly home," objectifying through the mythologemes of "garden," "star," "sun," and "moon"; the motif of boundary, associated with the topos "home" and its loci, includes the idea of simultaneous isolation and permeability of space; the archetype "road," developing in a circular trajectory in both horizontal and vertical planes, denotes the metaphor of the evolution of the soul and spirit of the main character; the mythologema "desert," serving as a mediator between the fields of "home" and "road," amplifies the motif of trial and moral choice; through the inclusion of intertextual connections, biblical allusions, and reminiscences, the author presents numerous connotations of the topos, which include mythologemes characterized by semantic ambiguity and polyvalence; the dominant images of "home" and "road" allow the author to highlight the problem of immorality and the philosophical-moral dialogue based on the confrontation between traditional moral views and a new, Nietzschean worldview.

The article focuses on the study of the intersections and differences in the narrative motifs of the Nart epic and the Adyghe tales, which reflect historical and heroic events. The study emphasizes the mythological foundation of these works, analyzing their narrative structures and cultural contexts. The main goal of the article is to identify the common and distinctive features between the two genres of the Adyghe oral tradition, in order to better understand their historical and cultural significance. The article involves the use of various textual analysis methods, which will allow us to identify not only the content, but also the deep meanings hidden in these narratives. The idea behind the article is to explore how the rich oral tradition of the Adyghe people reflects their cultural values and historical memory through narrative motifs. The main problem addressed in the article is the lack of a comprehensive analysis of the narrative motifs in the Nart epic and the Adyghe tales, which would reflect both their mythological foundation and historical contexts. The relevance of the study lies in the need to understand the cultural heritage of the Adyghe people and its significance in modern society. The purpose of the study is to identify the similarities and differences in the narrative motifs of the Nart epic and the Adyghe tales. The objectives of the study are: 1. To conduct a comparative analysis of the narrative motifs. 2. To explore the mythological basis of both genres. 3. To analyze the influence of historical events on the formation of plots. Despite their shared roots, the Nart epic and the Adyghe tales have unique features that reflect the specific historical and cultural context of each genre. In this article, we have explored the similarities and differences in their narrative motifs, which provide insights into how mythology and history intertwine in these works. We have examined how different narrative structures shape perceptions of heroes, their exploits, and moral values, as well as how they reflect historical events and social realities.

The proposed article is devoted to the study of the phonetic composition of the Bakhtiari dialect within the framework of the linguistic and geographical map of modern Iran. The Bakhtiari dialect is a linguistic variation of the Lur language, which belongs to the southwestern block of Iranian languages and dialects. The peculiarities of the territorial situation and the high level of linguistic deviation make it difficult to fully study all the elements of the linguistic picture of Iran. To date, only the Tehran dialect has been studied in detail, which formed the basis of the literary norm of the New Persian language. The interest that has arisen has shown that the role of the Bakhtiari dialect in the linguistic picture of Iran is poorly understood and insufficiently covered by the scientific community – today there is not even a consensus on the origin of this ethnic group, nevertheless, the regions inhabited by Lurs and Bakhtiars have great economic potential, which only reinforces the need for a more detailed study of the above dialect. The object of the study is the Luri-Bakhtiari dialect, as an integral part of the linguistic picture of modern Iran. The subject of the study is the phonetic features inherent in this dialect. In this work, methods of description and comparison were used. The phonetic features in the Bakhtiari dialect were identified by the description method, and the results obtained were compared with the literary norm of the Persian language by the comparison method. The author states that the pronunciation norm of the Bakhtiari dialect differs significantly from the Tehran pronunciation, which is considered normative. The most characteristic feature is, perhaps, the qualitative reduction of a short (unstable) sound [a] in an unstressed position and its transition to a labialized, unstable sound [o]. There is also a tendency for qualitative reduction of deaf slotted and bowed noisy sounds. Also, among the most characteristic features of the Bakhtiari dialect, one can perhaps name the more tense pronunciation of the sounds [d], [t], [k], [n] and [q], the slight palatalization of the sounds [r] before the rounded unstable vowel [o] and the more tense pronunciation of the vowels [i], [o] and [a]. Despite the fact that the pronunciation norms in Luri-Bakhtiari differ from Tehran, nevertheless, this dialect is easy to understand, so there are no special difficulties when communicating with native speakers of this language variation.

This study is concerned with communicative variation of syntactic structure, which is expressed in the existence of their variants, contrasted, on the one hand, by communicatively relevant characteristics attributed to individual components of the structure, such as rheme (focus) and theme (topic), and, on the other hand, by a series of formal means, including its constituent order, intonation and morphosyntactic properties. The research is based on a sample of realizations of three typical syntactic structures with prototypical spatial semantics in Surgut Khanty texts. As a result of the analysis of these utterances from the point of view of their formal and communicative organization, a series of communicative variants forming the paradigm of each typical syntactic structure are identified. The research shows that the constituent order and intonation are the predominant means of forming basic communicative oppositions determined by the choice of the leading component in the utterance’s focal part. This conclusion contrasts with the widespread notion of morphosyntactic variations such as passive voice, object conjugation and case marking of different nominal components of the structure being the dominant means of communicative variation. Considering such means in the context of the communicative paradigm of different types of syntactic structures shows the limitations of their communicative functions in comparison with system of oppositions expressed by constituent order and intonation. Thus, from the point of view of the typology of communicative systems proposed by R. Van Valin Jr., the Surgut Khanty communicative system could be viewed as representing a type of systems characterized by variability of constituent order in combination with limited domain of focus.

The article is devoted to the issues of modern visualization of media products reflecting the historical memory of the people. The author analyzes one of the most important forms of non–verbal media communication - photography. The author presents the results of a study based on the psycholinguistic analysis of visual products and specifically the analysis of photographic images. The object is the republican newspaper "Daimohk" (Chechen Republic), which is published in the Chechen language. The rationale for the choice of the research object was the uniqueness of the publication - the first newspaper in the world published exclusively in the Chechen language. The visual material of the newspaper is not only an addition, but also a translator of the ideas and values of the Chechen people for those who view the publication. Among the reasons that contributed to the choice of the publication is the great and long–term popularity of the newspaper among the Chechen people.The main characteristics of the photographs in the newspaper are revealed - documentality, demonstration of the spiritual qualities of the people, the reality of what is happening in the frame, which speaks about the national identity of the publication. Techniques of effective influence on the reader can be useful and in demand by regional and federal media.