Vol 8, No 1 (2023)

In the domestic culture of the beginning of the 21st century, the crisis of value attitudes of a modern person, whose consciousness is subject to manipulation, has aggravated. The phenomenon of manipulation of consciousness has its own history, but it gained particular strength in the 20th century, when the media, art, and advertising became the main conductors of power. At the beginning of the 21st century, the information and communication space becomes the main tool for manipulating human consciousness. The phenomenon of intertextuality has become widespread in works by V.O. Pelevin, one of the brightest representatives of Russian postmodernism, the author of “Omon Ra”, the novel that reveals a creative rethinking of the transformation of the cruel Soviet reality of the 1990s. In this article, the novel is interpreted through the identification of manifestation forms of intertextuality and the defining their role within the framework of a united artistic world of the text. The intertextuality of the novel is expressed by intertextual components: literary borrowings, imitations, overt and covert citations, allusions, reminiscences, poetic inclusions, irony. These intertextual elements represent the cultural layer of the novel text being interconnected with the storyline of the work. V.O. Pelevin managed to emphasize the main thing in his hero’s character – the ability to doubt dogmas; to reveal the duality of the hero’s world, who goes through difficulties before deciding to free himself from the cruel system that destroys any “I”. Intertextuality the text of “Omon Ra” provokes a play of meanings and a plurality of interpretations, helps to achieve the creation of a multi-level text, which is made of the cultural and ideological layers of the Soviet era, which the author characterizes as a time of deliberate falsification of history and manipulation of human consciousness. The author constructs an artistic reality built at the intersection of the real and unreal, the real and illusory worlds.

The aim of the study is to present linguistic and cultural analysis of modern methods and practices used in the process of teaching Russian language to cadets in military universities of the People's Republic of China. The task of the work is to determine the requirements for teaching Russian language to cadets of military universities, to identify the advantages and disadvantages of the existing education system, as well as the difficulties that arise in the process of comprehending Russian language. The relevance of the research topic is dictated by the communication growth between Russia and China, which requires philologists with a good knowledge of Russian. The theoretical and methodological basis of the study presents a set of applied methods of logic, analysis and synthesis, induction and deduction. It is determined that in the course of teaching Russian language, Chinese cadets of military universities comprehend it in two stages at the “basic” and “advanced” levels. It has been established that the main emphasis in the learning process is focused on practical and colloquial comprehension of Russian. It was revealed that in the learning process cadets have an apportunity to study the cultural diversity of Russia, which improves the quality of teaching Russian. It has been established that improving and expanding language skills are set as the tasks for cadets and students of Chinese military universities in order to increase the level of their competence. In particular, the skills of correct reading for understanding current news in Russian press prevail on the perception of complex popular science articles and fiction. In addition, they are to pay attention to listening activities to  understand news on politics, diplomacy, economics and society in the media, such as, for example, radio, the Internet and television; understand audio materials, taking into account all the difficulties that arise, similar to ones they face studying the contents of a textbook.

The article deals with the introduction of new technical devices by Russian religious poet Stanislav Krasovitsky, which connects the tradition of zaum’ in the avant-garde with the search for a new mystery. As a pioneer of religious poetry during the Thaw period, Krasovitsky anticipated the mystery turn in Soviet culture: the use in rock operas, films and animations of the mystery plot as capable of uniting the various symbols of world culture. For Krasovitsky, the main technical device is the introduction of new letters into the Russian alphabet, taken from Greek and Latin, which allow conveying visual impressions through an unusual combination of sounds and creating a special atmosphere of mystery. It is shown that this project by Krasovitsky is closely related to the development of semiotics and cybernetics and the understanding of scripts as implementing programmed pragmatics in special operational symbols. Krasovitsky did not engage in poetic production for more than two decades, preferring religious asceticism, but at the same time he developed a theoretical justification for his turn from the avant-garde to mystery along the lines of the acts of the Baroque era. He constructed a consistent historiosophy in which paganism, the cult of Apollo, and Christianity were the three stages in the acquisition of truth, and each stage corresponded to its signs, letters, and symbols, containing both semantics and iconically marked pragmatics. This allowed Krasovitsky to combine reflections on the nature of letters with reflections on ritual, and to create late poetry already simply as legitimizing his own priestly rituals. This study allows us to clarify the peculiarities of perception of religious and philosophical issues in the culture of the Soviet period and show how formal experiments, including those supported by a specific medium of typewriter, allowed a new arrangement of verbal and visual elements in the work.

This article proceeds from the fact that today, along with the economic development of society, there is a steady research interest in the spiritual and moral principles implemented in national fiction. It is in it that the mentality of the ethnic group is reflected, the psychological portrait of the nation, moral norms, connection with nature, the mythological layer of culture are presented. All this is presented in the work by one of the most significant Khanty writers, Mikul Ivanovich Shulgin (1940-2007). He has come a long way in life to literature. Since 1971, Mikul Ivanovich has been a member of the USSR Writers' Union. Since 1991 he has been a member of the Russian Writers' Union. His poems have been translated into Belarusian, Hungarian, Spanish and Ukrainian. Intertwining the Khanty culture and mentality with his work, M.I. Shulgin invariably reflects a special way of understanding and perceiving reality. At the same time, the writer and his works are insufficiently studied in domestic literary criticism. Little attention is now paid to Shulgin's poetic and prose works only in the regional curriculum for native literature. For the works of M.I. Shulgin about nature is characterized by the presence of mythological motifs. The term “mythology” is quite broad and has many facets to study. The concept of “myth” refers not only to literary criticism, but also to other related disciplines: cultural studies, philosophy and linguistics. At the same time, the mythological picture of the world, characteristic of one or another people or author, including the peoples of the Khanty, and inherent in the work of M.I. Shulgin. This confirms not only the relevance, but also the necessity of the undertaken research. The purpose of the article is to study and analyze mythologism in the works of Mikul Shulgin about nature.

Indifference of authorities was a main symbol of the time preceded creation of the novel “Farewell to Arms!”. To save democracy it was reflected in the propaganda of war. The calls were especially persistent in May 1918. At this moment, the elderly felt the apathy of the strong and did not want to participate in this wrong war, young men (such as eighteen-year-old Hemingway) did not understand anything and went to the front. Most of them were destined to die. The fate loved Ernest: it saved him from joining the army several times. Later, when the young man could no longer wait, it saved him from direct participation in hostilities. In vain, because the war engages even Red Cross employees in physical and moral battles: it raises many unsolvable questions, makes them doubt the honesty of what is happening and tries to devalue the highest feelings. Many decisive measures were to be taken to preserve the soul. Many artistic devices would come in need to describe the experience. The study of these mediums is the subject of this research, the proof of their artistic power is the goal. The research was carried out on the materials of the English and Russian versions of the novel, critical articles by researchers of the writer's work. The comprehensive method of literary analysis was used. We revealed high thematic saturation in the novel because of our research effords. The author raised many problems: an intellectual in war, people's attitude to war, religion and war, morality and war, the fall of man in war, the influence of official propaganda on people; showed originality of the use of synthesis and montage (combination of pictures of different quality and meaning), sophisticated contrast; confirmed validity of the breach of the chronological principle.

The article attempts to present and clarify a fictional concept, its distinctive properties and ways of its functioning in a literary text. Being considered as the main unit of the conceptual analysis of a fiction work, the concept expresses the conceptual meanings of the text, realizing the function of reflecting the individual author's world picture and the information embedded in it. The relevance of the article is confirmed by the prevalence of conceptual analysis in the field of many linguistic sciences, which generates additional study of the essential units of this analysis – fictional concepts. This presupposes the main purpose of the article, which consists in identifying the specific features of a fictional concept found in a literary work, as well as in considering the features of its implementation in the text. The consideration of concepts in fiction texts made it possible to identify their distinctive features: imagery, evaluativeness, emotiveness, associativity, symbolism and dynamic character. Another specific feature of a fictional concept is its contextual determinism, which is based on the dependence of the concept on the type of context (linguistic and extralinguistic). Moreover, it became possible to identify a vivid feature of fictional concept that differentiates it from other cognitive concepts – the ability to reflect an individual author's fictional world picture. This property is manifested in the expression of the conceptual meanings of the text by fictional concepts. Analysis of fictional concepts can be applied while analyzing and interpreting literary texts and building their conceptual spheres.

The article aims to delineate religiously marked allusions and their twofold interdependent properties in the literary text: religiously marked allusions as the carriers of religious information and activators of religious knowledge structures in the literary text. Religiously marked allusion constitutes a direct or indirect referent to the precedent religious text, and hence embodies a large scale encyclopedic, specifically, religious and culture specific information in its semantic construct. The adequate interpretation of religiously marked allusions presuppose the existence of corresponding religious knowledge structures in the reader's mind. To reveal specific features of religiously marked allusions as knowledge structure activators in the literary text, the method of conceptual analysis was applied. The method of conceptual analysis is targeted at revealing conceptual significance of religiously marked allusions, and explicating the author's individual world picture and conceptual information implicitly presented by him/her in the literary text. To achieve the research aim first factual, subtextual, conceptual information of the linguistic material was exposed. The results of the analysis show that in addition to religious knowledge structures, religiously marked allusions activate old and new, collective and individual, objective and subjective knowledge structures too. In addition, being highly influenced by the author's individual conceptual world picture and modality, religiously marked allusions can be reinterpreted and obtain additional or totally new conceptual senses in the literary text. Consequently, specific types of knowledge structures externalized by religiously marked allusions often showcase contradictions between old and new, collective and individual, objective and subjective knowledge structures.