The article studies the image of Biysk in Russian works of fiction. The research methodology is based on works studying fiction texts about cities written by representatives of the Tartu-Moscow school and the geo-cultural and geo-poetical approaches. In general, the history of Biysk repeats the history of first Siberian cities. Initially, it was a fortress, fixing the shift of the borders of Russian territories to the East (since 1709). After 1846, the city ceased to be a military administrative center and became a place of political exile. At the same time, it turned into a commercial and industrial provincial city, lying on a strategically important trade route (Chuysky Tract). The analysis of fiction texts made it possible to identify and describe the main figurative models of the city: military prison, prison, city of mud, antithesis of the village, hell – paradise, and city-mediator. No single “core”, apart from the object of description, uniting this, rather small corpus of texts, has been found. Although zones of overlapping of semantic spheres have been outlined. A military jail and a mud city are equivalent as a battlefield of antagonistic forces. In a vulgarized form, this antithesis expresses the opposition between the city and the village. A fortress, being an embodiment of the border, is capable of both blocking contacts and ensuring them. Most of the works about Biysk belong to the genres that are closely related to extra-fiction reality, which indicates the similarity between the fiction image of Biysk and the real city. It is not possible to speak of the presence of the Biysk text in the sense that V. N. Toporov used with reference to the Petersburg text. Occasional semantic parameters of the city are transformed by the paradigms of territorial supertexts: the Siberian and the provincial ones. In addition, the basic structural-semiotic parameters of the city coincide with the model of any city of the “extraterritorial” (Yu. M. Lotman) type. The individual content generation of the invariant scheme occurs due to the geographical, historical, mythological, etc. specificity of Biysk.

В статье рассматриваются компоненты концептуальной категории memory и авторские текстообразующие лексико-синтаксические приемы в произведениях современных американских писателей.

The article considers the translations of W. Thackeray’s parody Yellowplush Papers published in the journal Biblioteka dlya Chtenia (The Reader’s Library) in 1854 and 1860 as an example of intertextual interaction between the original and the translated texts. The parody was written in the genre of silver-fork novel, which was rather popular in the English literature of the 1820s and 1830s.The genre was of interest for both Russian writers and translators at different stages of literary development (secular novellas of the 1820s and 1830s, translations of certain Western fashionable novels of the 1850s and 1860s and the Russian fashionable novel of the 1870–1880s). Thus, the translations of Thackeray’s parody under analysis can be treated as a certain stage of development of the given genre in the Russian culture. The analysis of some fragments has revealed the attempts of the Russian translators, on the one hand, to render the artistic peculiarities of Thackeray’s parody to Russian readers, including its intertextuality, which was achieved in different ways (by using colloquialisms, translating the author’s references to foreign culture realities, rendering the author’s irony, and using techniques similar to the original ones). On the other hand, the translators’ desire to ‘incorporate’ the text into Russian literature is quite obvious for them. They try to make the text understandable for the Russian readers, which is evident due to numerous allusions to the texts of the Russian culture, reduction of specific fragments, inclusion of translator’s remarks, and interpretation of the parody finale. The translators targeted both the existing parody samples of Russian literature and the unique specificity of the original. Evidently, these translation techniques met the readers’ expectations and corresponded to the requirements of the Russian translation culture. Thus, the question asked in the title is impossible to be answered unambiguously. The elements of parody are closely connected with both the cultural traditions of the source language and with the references to fashionable novel which was accepted by the popular literature and was not developed in the Russian culture of the 19th century. So the works of this genre, to say nothing of its parodies, could not be rendered without losses into a target language.

The article is devoted to the study of the relationship between fan fiction as a type of secondary text and a classical text, which reveals the regular patterns of transformation of the structures of an artistic text in mass consciousness. In this aspect, the connection of the secondary text with a specific source – the classical text – is particularly important in relation to the problem of reading strategies and understanding of the literary text, especially a poetic one. The purpose of this article is to show how a classical text changes when it is transformed into a fan-fiction one. The study employs the methods of research of artistic adaptations and a comprehensive analysis of the literary text. The functioning of the secondary text presupposes active interaction between the reader and the artistic structure. This interaction is more often expressed in the form of repetition or “retelling” which changes the meanings of the original text to meet the tastes and expectations of the reader. In this situation, the co-creation of the author and the reader is not only expressed via intensive but also extensive development of the author’s artistic universe by the reader. The analysis of fan fiction texts based on the poem by A. Akhmatova “The Grey-Eyed King” has revealed that the borrowings, references and alterations of the classical work relate to two artistic structures of the text – the main character and the plot (the linguistic level does not become an object of readers’ perception). In the first case, it is a plastic adaptation of a character recognized by the reader and provision of details to the descriptions; in the second – it is a game with the events: their sequence, content, and interpretation. The text of the ballad is transformed into a fantasy story with an adventure plot and a tragic finale. It is the event-based level of the text, the genre formula and the romanticized main character that become the key points linking fan-fiction with the source, and it is they that become the main objects of rethinking in the reader’s creative work. Yet the novelty of rethinking is illusionary: the text should be familiar and wellknown, therefore the main character is placed in a familiar and understandable environment and the plot is filled with characters familiar to the reader. Such interpretations of the poem by Akhmatova are likely to appear due to the reader’s former experience dominated by works of mass culture.

The issues under study are associated with the solution of the problem of communicative dividedness of a written dialogic utterance. The problem of topic-focus articulation of a dialogic utterance is usually solved on the basis of oral utterances, due to which the topic-focus articulation of the dialogic utterance is modeled within the framework of an inference model of communication. The consistent development of these ideas leads to the recognition of the fact that the same stimulating utterance must illicit communicatively identical response utterances. The authors make an attempt to solve the problem of topic-focus articulation of a dialogic utterance in the aspect of an addressee-centered communication model that recognizes the addressee as the leading component of a communicative situation. The aim of the article is to identify and analyze the factors that influence the topic-focus articulation of a dialogical utterance in written communication, presented in the format of Internet comments to a news article. The paper identified person-centric and linguocentric factors influencing the topic-focus articulation of the dialogic utterance. The person-centric factors include the interpretation strategy and the native speaker’s communicative focus. It has been found that the communicative division of the dialogic utterance in written communication can be made according to the holistic and element-focused strategies. While using the holistic strategy, the linguistic personality perceives and interprets the original utterance as one whole unit. While employing the element-focused strategy, the addressee perceives the original utterance as a communicatively divisible unit and performs its semantization by actualization of the word forms that are communicatively significant or relevant in the terms of formation of intention of the future utterance. These word forms become the key mechanism for unfolding the response utterance. The communicative focus identifies the rheme of the utterance and expresses the native speaker’s attitude to it – a communicatively significant fragment of the stimulating utterance. The communicative focus is correlated with dialogic modalities – agreement, disagreement, and neutral dialogic modality. The linguocentric factors include the property communicative divisibility of utterance.

The article deals with the major trends of modern Russian political metaphorology (2011-2020): cognitive, rhetorical, discursive, and semiotic. The cognitive trend considers political metaphor as a mental phenomenon that can be verbally represented in political texts. The cognitive direction includes four methods of political metaphor analysis: 1) analysis of solitary conceptual metaphors; 2) analysis of metaphors united by the source domain of metaphorical expansion; 3) analysis of metaphors united by the target domain of metaphorical expansion; 4) analysis of metaphorical projections in conceptual integrated spaces. The rhetorical trend focuses on the analysis of political metaphor as a pragmatic tool of influence on the addressee. The rhetorical approach to political metaphors involves research of the system of political arguments, strategies and tactics of rhetorical persuasion, the development of the methodology of rhetorical analysis and the construction of theoretical models of argumentation. This approach traditionally considers the metaphor as one of the stylistic means that politicians use in the struggle for power in various genres of political communication. The discursive trend involves the study of metaphor in a wide extra-linguistic context in different types of political discourse. There is a tendency to reduce the role of critical discourse analysis, which was so popular in political metaphorology at the beginning of the 21st century. The semiotic trend studies metaphor as an attribute of the sign system in the political life of society. There is a growing interest of linguists in multimodal imagery, which is associated with the understanding that non-verbal means are not inferior in pragmatic potential to the verbal tools. The peculiarity of the study of non-verbal metaphors is that researchers more often choose a method for studying the target domain of metaphorical expansion. The most general tendencies of modern Russian political metaphorology are highlighted, which include interdisciplinarity, methodological pluralism, criticism of universalism, emphasis on the cultural specifics of communication and its discursive characteristics, as well as the convergence of rhetorical and cognitive methodology. On the one hand, the paper emphasizes trends common to Russian and foreign metaphorology, and on the other, it reveals the characteristics reflecting the continuation of the traditions of Russian science.

В статье рассматривается символика образа главной героини повести Ильи Прозорова сквозь призму аналитической психологии.

The article analyzes the peculiarities of Russian reception of the creative work and the personality of the ‘European citizen’, German-language poet Paul Celan (23.11.1920, Czernowitz, Romania – 20.04.1970, Paris, France). Paul Celan, – a Jew by birth, a Soviet Ukrainian by compulsion, an Austrian and a German by the language and a Frenchman by the place of emigration and death – brought into the European culture “after the Holocaust” acutely tragic, saliently humane and morally eternal meanings. His creative activity is still attractive to the reading and academic community. The article emphasizes the evolution of perception and the peculiarities of canonization of this man of letters in our country and the meaning of the creative activity of Paul Celan for the contemporary Russian literary process, and specifically the problem of translation (translatability) of Celan’s works. Paul Celan is considered by contemporary Russian Germanists as a most eminent German-language poet of the first half of the 20th century. Russian Slavists appreciate him as the first and still unsurpassed translator of Yesenin’s, Khlebnikov’s, and Mandelstam’s works. The history of the Soviet recognition of Celan’s work begins in the 1950s. Researchers are interested both in the poet’s own works and in his translations of the Russian poetry. The author’s nationality of origin is still being traditionally defined as an Austrian of Jewish origin. The number of studies devoted to Celan is fairly representative: there are numerous scientific publications in Russia, both in the form of monographs and journal articles, which give a good picture of both his own works, which are actively translated into Russian, and of his translations of Russian poets. The analysis of the specificity of the current poet’s reception, considering its dynamics over time, allows one to conclude that there is a clear trend towards literary canonization of the poet in the post-Soviet cultural space.

In the history of Russian chekhovian studies the works by A. B. Derman appear in two points of view that are not equally relevant today. Though Derman repeats the official interpretations of Chekhov'slegacy (for example in his critical biographical essay “A. P. Chekhov” (1939) and “Moscow in the life and work of A. P. Chekhov” (1948) and other newspaper and magazine articles, he is also the author of a curious hypothesis, with the help of which he tried to explain the dominants of Chekhov's poetics, as well as to give an exhaustive psychologicalportrait of the writer. Curious hypothesis was formulated in his monograph “The portrait of Chekhov's creativeness” and partly in its subsequently added alterations. The hypothesis lies in the idea of “disharmony”of Chekhov's character: the primacy of the rational part over the emotional one. In Derman's opinion.

The review defines and interprets the essence of the author’s contribution to the study of the literary environment and creative ties of Platonov during the Muscovite period of his life and professional activity. The article outlines the specific nature of oral narratives about the writer and specifies the tasks of synchronizing the documents and facts with the “personal time” of the creative person at different stages of the study of his literary and journalistic heritage. The reviewer reveals the sources of information about Platonov’s contacts with literary groups of Moscow and explores the “lines of attraction, repulsion and alienation” between the creative goals of the writer and his contemporaries, as well as the specificity of the interaction between “the biographical and the aesthetic” in the artistic strategy and practice of Platonov and other writers. The review contains examples of felicitous findings and literary reconstructions.