Issledovatel'skiy Zhurnal Russkogo Yazyka I Literatury
Journal Summary Issledovatel'skiy Zhurnal Russkogo Yazyka I Literatury (Research Journal of Russian Language and Literature) is an international, peer-reviewed scholarly publication established in 2013 by the Iranian Association of Russian Language and Literature. The journal is published semiannually in both print and electronic formats, maintaining a B-ranking classification from Iran's Ministry of Science, Research, and Technology. The journal specializes in original research articles spanning Russian linguistics and literature, with particular focus on general linguistics, comparative linguistics, sociolinguistics, psycholinguistics, functional grammar, literary criticism, linguodidactics, and translation studies. As an open-access publication operating under Creative Commons CC-BY licensing, it provides immediate free access to all content, supporting global knowledge exchange. Employing a rigorous double-blind peer review process managed through OJS platform, the journal ensures high academic standards while maintaining an acceptance rate of 73%. It is indexed in several reputable databases including Russian Science Citation Index (eLibrary.ru), Google Scholar, DOAJ, MAGIRAN, and ISC, with digital preservation through PKP Preservation Network. The journal serves as an important academic platform for scholars worldwide, facilitating the dissemination of research on Russian language studies and teaching methodologies in diverse linguistic and cultural contexts, particularly supporting the development of Russian language studies outside Russia.
Iranian Association of Russian Language and Literature
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THE FUTURE OF THE LITERARY ESTATE IN LINE WITH THE “CIVILIZATIONAL APPROACH”
In the USSR and in the post-Soviet period are shown. Based on the material of Russian literature at the turn of the 20th–21st centuries, the trends in the development of the literary estate in line with the “civilizational approach” associated with the “great time” (M.M. Bakhtin) of Russian history were revealed for the first time. Based on this methodology, in the process of textual analysis of the works of T.N. Tolstaya, V.G. Sorokin, A.P. Potemkin, Yu.V. Mamleev, V.O. Pelevin, G.S. Yakhina, etc., the conclusion is made that the history of the Russian literary estate is not limited to the imperial period of the 18th – early 20th century, as previously thought, but goes back to Moscow Rus with its Turkic-Slavic socio-cultural symbiosis. At the same time, some authors satirize the “civilizational approach” and the accompanying “estating” of Russia (V.G. Sorokin, V.O. Pelevin), some remain neutral (T.N. Tolstaya, G.S. Yakhina), and others welcome the new civilizational shift (A.P. Potemkin, Yu.V. Mamleev). Extended Abstract This article, re-examines the Russian literary estate (усадьба) as a cultural phenomenon, arguing for its continued relevance and future trajectory within the framework of the "civilizational approach." The author challenges the conventional view that the estate was definitively destroyed in the early 20th century, asserting instead that it transitioned into various public forms (museums, sanatoriums, creative communes) during the Soviet era and is now being recreated in new formats in post-Soviet Russia. Bogdanova posits the estate as a universal element of the human cultural code—an archetype traceable to the biblical Eden—that adapts to specific national and civilizational contexts. The core of the analysis applies a civilizational methodology, informed by the "big time" of Russian history (M.M. Bakhtin), to works of Russian literature from the turn of the 20th–21st centuries. This approach, drawing on the theories of thinkers from Danilevsky and the Eurasianists to Huntington and contemporary Russian scholars like Tsymbursky, views Russia as a distinct civilization shaped by a unique synthesis of Slavic and Turkic influences, Orthodox faith, and its specific geography. Through textual analysis of novels by T.N. Tolstaya, V.G. Sorokin, A.P. Potemkin, Yu.V. Mamleev, V.O. Pelevin, and G.S. Yakhina, the article identifies a key trend: the literary estate is being reimagined not merely as a relic of the imperial 18th–early 20th century period, but as a phenomenon with deeper roots in Muscovite Rus and its Turko-Slavic socio-cultural symbiosis. The examined literary works reveal diverse authorial stances towards this civilizational shift and the concomitant "estatization" of Russia. Some authors engage in satire and critique: Vladimir Sorokin, in Day of the Oprichnik and The Sugar Kremlin, and Victor Pelevin, in Transhumanism Inc., ironically depict dystopian futures where estate life is resurrected in grotesque, technologically infused forms that mock civilizational narratives. Others maintain a more neutral or ambivalent position: Tatyana Tolstaya’s The Slynx stylizes a post-apocalyptic future with elements of pre-Petrine, Muscovite estate life, while Guzel Yakhina’s Zuleikha Opens Her Eyes presents the estate as a Euro-Asian space of cultural fusion without overt ideological endorsement. In contrast, a third group of authors welcomes the new civilizational perspective. Yury Mamleev’s Empire of the Spirit passionately advocates for Russia’s spiritual sovereignty as a unique civilization, with the estate space serving as a site for metaphysical discourse. Alexander Potemkin’s Man is Cancelled portrays the construction of a new estate as an experimental ground for creating a "new man," explicitly rejecting Western models and seeking a fresh anthropological beginning. The article concludes that the future of the Russian literary estate is intrinsically linked to these ongoing civilizational self-definitions. It suggests that the estate will continue to evolve, potentially as a "city-garden" or a high-tech "Northern civilization" settlement, remaining a vital "window into transcendent meanings" and a Euro-Asian phenomenon. Thus, the literary estate is not a closed historical chapter but a dynamic topos whose history extends back to Muscovite Rus and whose future will be shaped by Russia's ongoing civilizational trajectory.
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PROTOMOTIVE OF THINKING IN DERZHAVIN'S POETRY
The article examines Derzhavin's poems dedicated to thinking. This thematic line has not previously attracted the attention of researchers. It is revealed in the material of a dozen poems and interpreted as a protomotive—the germ of the motive of thinking in 18th-century poetry, its initial embodiment. It is shown that the lexemes "thought," "mind," and "understanding" entered the vocabulary of poets in the age of rationalism, starting with Kantemir. For Derzhavin, "mind" is one of the declared values, often in unities: mind and heart, mind and conscience, mind and spirit—such combinations testify to Derzhavin's ideal of a holistic personality. This ideal is embodied in the image of Felice. Derzhavin made the first observations of the mind: a thought whirling in chimeras, a sleepy consciousness. The poet's first thought about the mind (ode "God") is an affirmation of the inability of the mind to comprehend God. With this negative statement, the formation of the motive of thinking in Russian poetry begins. Affirming the value of the mind despite the fact that there is no positive semantic content in the motive content allows us to speak about the protomotive of thinking and connect it with the rational nature of thinking of the 18th century. Extended Abstract This article investigates the thematic line of thinking in the poetry of Gavrila Derzhavin, conceptualizing it as a proto-motive—the germinal, initial form of what would later develop into a significant and complex motif in 19th-century Russian poetry. The analysis is centered on a selection of Derzhavin's works where lexical units such as "thought" (mysl), "mind" (um), and "understanding" (razumeniye) are prominent, tracing their incorporation into poetic diction from the era of Kantemir through the Age of Rationalism. For Derzhavin, "mind" is a consistently declared value. However, it is rarely presented in isolation. The poet's ideal is that of a holistic personality, evident in recurring syntagmatic pairs such as "mind and heart," "mind and conscience," and "mind and spirit." This integrative ideal finds its most complete embodiment in the figure of Felitsa, who is depicted as a model of wisdom where "spirit and mind" are in harmonious unity. Beyond these declarative valuations, Derzhavin’s poetry contains some of the first poetic observations on the internal workings of the intellect. He describes a thought "circling in chimeras" and a "sleepy consciousness," offering nascent insights into mental life. Nevertheless, the foundational and most definitive statement on the mind in Derzhavin’s oeuvre, as articulated in his seminal ode "God" (1784), is a negative one: it is the affirmation of reason's ultimate inability to comprehend the divine. The article posits that it is precisely with this negative assertion—the affirmation of the mind's value coupled with a denial of its capacity for substantive metaphysical cognition—that the formation of the "motive of thinking" in Russian poetry begins. This specific configuration, where the motif asserts a value but lacks a positive, developed semantic content, justifies its classification as a proto-motive. The author explains this distinctive feature by contextualizing it within the rational, discursive (rassudochnyy) character of 18th-century thought, which prioritized logical deduction and clear didactic statement over the intuitive contemplation and epistemological exploration that would later flourish. Thus, Derzhavin’s treatment of thinking is identified as the crucial precursor to a fully realized poetic motif. This proto-motive, established in the rationalist soil of the 18th century, would later blossom under the transformative influence of German idealist philosophy into a rich and self-reflective motivic complex in the poetry of the Wisdom-lovers (lyubomudry) and subsequent generations of Russian poets.
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THE ROLE OF TOPONYMS IN CREATING THE IMAGE OF THE EAST IN THE 17TH CENTURY MONUMENT "ON THE VOYAGE FROM MOSCOW TO THE PERSIAN KINGDOM..." BY FEDOT KOTOV
This article examines the 17th century travelogue "On the Voyage from Moscow to the Persian Kingdom, from Persia to Turkey, to India, and to Urmuz on the White Sea, Where the Germans Arrive by Ship", by the Moscow merchant Fedot Kotov, completed in 1623–1624. This historical and literary work is presented in the form of a travelogue. The author integrates this work into the thematic unity of Eastern Russian literature, suggesting that the text be analyzed within the context of this multi-genre thematic community. Common elements of Eastern texts include route markers describing the journey to the East and extensive nominations of geographical and man-made landscape features in foreign spaces. In travelogues, the route determines the plot and structure of the text. Routing becomes the basis for the composition of the text of the analyzed monument, establishing periods of movement and stops. Routing becomes the basis for the composition of the text of the analyzed monument, establishing periods of movement and stops. Movement necessitates abundant toponymic nomination and topographical commentary on landscape features, while stops allow the inclusion of ethnographic commentary and pictorial sketches of everyday life related to the history and present of the toponymic object. The travelogue describes the route from Moscow along the Volga and Caspian Sea to Isfahan and Sultaniya; the route from Shamakhi to Turkey; the route from Isfahan to India, etc. An expanded toponymic nomination, indication of distances between points and types of geographical features with descriptions of their features, recreate a pictorial layout of the space, which has an aesthetic effect. The toponym is considered as a sign for designating a landscape feature, natural or man-made, and as an element of the poetics of the work, while commentary on the toponymic object serves as a means of the author's presence in the text. Extended Abstract This article examines the 17th-century travelogue “On the Voyage from Moscow to the Persian Kingdom, from Persia to Turkey, to India, and to Urmuz on the White Sea, Where the Germans Arrive by Ship” by the Moscow merchant Fedot Kotov. The author integrates this work into the thematic unity of the Eastern text of Russian literature, proposing its analysis within the context of this multi-genre thematic corpus. Common elements of such texts include route markers describing the journey to the East and extensive nomination of geographical and man-made landscape features in foreign spaces. In the travelogue, the route determines the plot and structure of the text. Routing becomes the basis for the composition of the analyzed monument, establishing periods of movement and stops. Movement necessitates abundant toponymic nomination and topographical commentary on landscape features, while stops allow for the inclusion of ethnographic commentary and pictorial sketches of everyday life related to the history and present of the toponymic object. The travelogue describes routes from Moscow along the Volga and the Caspian Sea to Isfahan and Sultaniya; from Shamakhi to Turkey; from Isfahan to India, and others. An expanded toponymic nomination, indication of distances between points, and types of geographical features with descriptions of their characteristics recreate a pictorial layout of space, which has an aesthetic effect. The toponym is considered as a sign for designating a landscape feature, natural or man-made, and as an element of the work's poetics, while commentary on the toponymic object serves as a means of the author's presence in the text. The study establishes that the description of the route in the travelogue serves as its narrative and compositional core. It is determined that the artistic means of the travelogue is toponymic nomination. A total of 137 toponyms of various types are identified and analyzed in the text. The subject of the research is the substantive content of the toponym, the context formed during its existence and application. It is concluded that toponyms in a travel text are incorporated into the national worldview and acquire their specific historical and cultural context, which expands the substantive volume of the toponym in the course of its existence and application. The inclusion of historical and cultural realities in the description of a toponymic object recreates the historical appearance of the point denoted by the toponym, actualized in the practical usage of the toponym. Thus, toponyms in Kotov’s travelogue function not merely as geographical designations but as complex semantic units organizing the perception of foreign space. They integrate practical, documentary information with historical, cultural, and ethnographic commentary, thereby constructing a multifaceted image of the East. This approach allows the author to overcome the impersonal, official style of the report, introducing an artistic element and an authorial perspective. The expanded nomination and commentary on toponyms create a detailed, visually rich cartographic project of the traversed territories, contributing to the formation of the Eastern text in Russian literature and demonstrating the cognitive and aesthetic potential of toponymy in travel narratives.
THE TRADITIONS OF THE GENRE OF THE MILITARY STORY IN RUSSIAN LITERATURE OF THE XIX-XX CENTURIES
The genre of the military story is a kind of historical genre based on a folk legend presented as a fact. The military story is characterized by a teleological plot, in particular, related to the ideology of "Moscow – the Third Rome", and a didactic orientation. The general motives of military stories include prayer-a request for help, the motive of the intercession of heavenly powers, the motive of the "mortal cup", the rite of farewell kissing. The military story includes the folklore genre of lamentation, the book genre of vision, and Christian symbols. The "Legend of the Mamaev Massacre" uses the image of a vine as a symbol of the Kingdom of Heaven, numerical symbols are associated with church worship. In Leo Tolstoy's novel War and Peace, the white color becomes a symbol of redemptive sacrifice, the sun is a sign of the presence of divine help. Here, as in the Old Russian military stories, the rite of farewell kissing is shown. Mikhail Bulgakov's novel The White Guard correlates with The Tale of Batu's Devastation of Ryazan. The city in these works symbolizes the human soul, gripped by vices. The destruction of Kiev in Bulgakov's novel, in the context of St. Augustine's work, is perceived as the completion of the old and the transition to a new, more perfect dispensation, which is associated with the "Moscow text." Elena's prayer to the Blessed Virgin Mary is heard in Bulgakov's novel, and her brother is granted life. Russia is represented in Russian literature as the inheritance of the Most Holy Theotokos, as a Christian power that is under the protection of heavenly powers. Extended Abstract This article, investigates the continuity of the ancient Russian genre of the military tale (voinskaya povest) in major Russian novels of the nineteenth and twentieth centuries, specifically in Leo Tolstoy’s War and Peace and Mikhail Bulgakov’s The White Guard. It posits that the military tale, a variety of historical genre based on folk legend presented as fact, establishes a foundational set of motifs, symbols, and ideological frameworks that are subsequently revived and recontextualized in later national narratives. Characterized by a teleological plot and a didactic orientation, often linked to the ideologeme "Moscow – the Third Rome," the genre employs recurring elements including prayer for help, the motif of heavenly intercession, the "mortal cup," and the rite of farewell kissing. The analysis demonstrates how these traditional components are integrated into the modern novels. In Tolstoy’s War and Peace, the author identifies the symbolic use of white color as representing redemptive sacrifice and the sun as a sign of divine presence during the Battle of Borodino. Furthermore, the novel incorporates the rite of farewell kissing between characters, mirroring the ritual found in Old Russian texts like The Tale of the Ruin of Ryazan by Batu and The Legend of the Mamai Massacre. The dating of key events in Tolstoy’s narrative to significant feast days of the Theotokos further aligns the novel’s structure with the spiritual chronology of the military tale. Bulgakov’s The White Guard is explicitly correlated with The Tale of the Ruin of Ryazan by Batu. In both works, the city functions as a symbol of the human soul gripped by vice, and its destruction is interpreted not as an ultimate end but as a necessary passage toward a new, more perfect dispensation—a concept traced to St. Augustine’s The City of God and connected to the "Moscow text." The article highlights the presence of numerical symbolism, visions of a heavenly host, and, crucially, a prayer by the character Elena to the Most Holy Theotokos, which is heard and results in her brother’s life being spared. This intervention reinforces a central tenet of the tradition: Russia is portrayed as the inheritance of the Theotokos, a Christian power under the protection of heavenly forces. The article concludes that the traditions of the military tale in the novels of Tolstoy and Bulgakov are intrinsically linked to the enduring Russian national concept of Moscow as the Third Rome. Russia is consistently depicted in this literary continuum as a power engaged in spiritual warfare for the Orthodox faith. The shared motifs of prayer, celestial intercession, sacrificial symbolism, and the participation of a heavenly army create a coherent transhistorical narrative. Ultimately, the genre affirms a cycle of destruction and renewal, wherein a ravaged city is always restored as a more perfect Christian entity, sustained by the belief in Russia’s divine patronage.
THE INTERCULTURAL CORRESPONDENCES OF ZOOMORPHISMS IN PERSIAN AND RUSSIAN FAIRY TALES
A comparative analysis of zoomorphic metaphors in Persian and Russian fairy tales is carried out. The relevance of this study is determined by the importance of studying fairy tales for their preservation as a national, folk cultural and linguistic heritage. The novelty of the work lies in the comparative analysis of the texts of fairy tales belonging to the Persian and Russian language continuums, different traditions of their cultural origin. The material for the study was Persian, Russian folk and original fairy tales, based on the zoomorphic representation of fairy tale characters. Persian fairy tales are studied with the help of translations into Russian, published in the famous collection of Persian fairy tales, published in Moscow by the Eastern Literature publishing house in 1958. The source for the translations were Persian fairy tales from newspapers, magazines, and collections published in Iran. Despite the cultural originality of Persian and Russian fairy tales, the commonality of their division into every day, fairy tales and fairy tales about animals is noted. The structural similarity of Persian and Russian fairy tales is based on the presence of a beginning, plot development, and a denouement that does not have an unambiguous interpretation and encourages the reader to further think. The plot similarity is manifested in the names of the zoomorphic characters themselves, their possession of positive and negative qualities, and their ability to transform into human images. The fairytale-allegorical form of the narrative, based on images of animals, allows us to focus the reader’s attention on such vices as greed, stupidity, envy, talkativeness, which enhances the educational potential of the fairy tale. Despite the similarity of some plot lines and characteristics, the originality of Russian and Persian fairy tales is manifested in a special national flavor, in endowing animal images with different cultural meanings, characters, actions, and attitudes towards each other. The research material gives a clear idea of the division of zoomorphic images presented in the texts of Persian and Russian fairy tales into three groups: completely equivalent, partially equivalent, original. In this regard, the work analyzes the similarities and differences of zoomorphism’s using examples from text sources. Extended Abstract This article presents a comparative analysis of zoomorphic metaphors in Persian and Russian fairy tales. The research is motivated by the significance of preserving these narratives as essential components of national cultural and linguistic heritage. The study's novelty lies in its direct comparison of fairy tale texts from two distinct linguistic and cultural traditions: the Persian and Russian language continua. The analytical corpus consists of Persian and Russian folk and literary fairy tales featuring zoomorphic characters. Persian tales are examined via their Russian translations published in the seminal 1958 Moscow collection Persian Fairy Tales by "Eastern Literature," which compiled tales from Iranian periodicals and folk anthologies. The article identifies a foundational structural similarity between the two traditions, as both classify tales into three primary genres: everyday tales, magical tales, and animal tales. Narratological parallels are further observed in their common compositional framework, which typically includes an introduction, plot development, and an open-ended denouement designed to provoke reader reflection. Plot-level correspondences emerge in the naming conventions for animal characters, the attribution of human virtues and vices to them, and their capacity for transformation into human forms. This allegorical mode, utilizing animal imagery, serves to accentuate human flaws such as greed, foolishness, envy, and garrulity, thereby enhancing the moral-didactic function of the tales. Beyond these similarities, the article emphasizes the distinct cultural identity of each tradition, expressed through unique national colorings. This specificity involves endowing animal images with divergent cultural significances, character traits, behaviors, and relational dynamics. Based on textual analysis, the article proposes a clear tripartite categorization of zoomorphic images found in these tales: fully equivalent, partially equivalent, and culturally specific (unique). Fully equivalent zoomorphisms demonstrate a high degree of overlap in symbolic function and narrative role. The fox is highlighted as a prime example, being a high-frequency archetype in both corpuses. In tales such as the Persian "The Fox-Sheikh" and the Russian "The Animals in the Pit," the fox is consistently portrayed as the quintessential trickster—cunning, deceitful, and manipulative. Furthermore, both traditions frequently feature a recurring zoomorphic ensemble of the fox, wolf, and bear, who interact in narratives that explore themes of cunning versus brute force and collective gullibility. Partially equivalent zoomorphisms share a core symbolic function but exhibit notable variations in their specific portrayals or narrative functions. The selection of animal characters is naturally influenced by local fauna, leading to differences in the prominence and treatment of certain species. While animals like the mouse, chicken, and goat appear in both traditions, their associated traits and story roles are not perfectly symmetrical. Culturally specific zoomorphisms are unique to one tradition and lack direct counterparts in the other. The article cites the Persian tale "The Tailless Jackal" as an illustrative case. The jackal, a predator absent from the Russian folkloric bestiary, appears here as a uniquely treacherous and sophisticated villain, its narrative complexity underscoring the distinct ecological and cultural milieu of Persian storytelling. In conclusion, the study delineates key intercultural correspondences: shared narrative structures, analogous typologies of zoomorphic character functions, a parallel trend toward narrative complexity reflecting artistic development, and the overarching classification of images into equivalent, partially equivalent, and unique categories. Ultimately, the analysis confirms that Persian and Russian fairy tales, while deeply rooted in their specific cultural soils and rich in national color, jointly serve as vital repositories of folk wisdom and retain significant pedagogical value as foundational cultural heritage.
MELODIES OF RESISTANCE: A CULTURAL AND POSCOLONIAL ANALYSIS OD KURDISH AND RUSSIAN LULLABIES, BASED ON THE THEORY OF ANIA LUMBA
The purpose of this study is to conduct a comparative analysis of the cultural, social and conceptual features of Kurdish and Russian lullabies, to identify their similarities and differences in the transmission of values, reflection of social reality and the use of symbolic themes. Despite cultural and historical differences, Kurdish and Russian lullabies both convey cultural values, express human feelings through rhythm, melody and similar motives. There are significant differences in political, social themes, in the ways of expressing cultural identity, which is due to the historical past and socio-political context of the respective societies. The research methodology is descriptive and analytical, using a comparative approach. Examples of Kurdish and Russian lullabies are collected from written sources, oral folklore and scientific works. Within the framework of a qualitative content analysis, based on cultural, and postcolonial theory of Ania Lumba, a comparative study of the themes and socio-cultural functions of lullabies is carried out. The final conclusions highlight the main similarities and differences, and explain the historical and social role of these songs in Kurdish and Russian cultures. Extended Abstract This study conducts a comparative analysis of the cultural, social, and conceptual features of Kurdish and Russian lullabies. The research identifies their similarities and differences in transmitting values, reflecting social reality, and utilizing symbolic themes. Despite cultural and historical distinctions, both Kurdish and Russian lullabies convey cultural values and express human emotions through rhythm, melody, and similar motifs. However, significant differences exist in political and social themes and in the ways of expressing cultural identity, stemming from the historical past and socio-political context of the respective societies. The research employs a descriptive and analytical methodology using a comparative approach. Examples are collected from written sources, oral folklore, and scientific works. A qualitative content analysis, based on cultural reflection theory and the postcolonial theory of Ania Lumba, is conducted. Lumba's framework views folklore as a key form of cultural expression and means of confronting colonial violence, allowing the lullabies to be analyzed as vehicles for the voices of the oppressed. The analysis reveals that Kurdish lullabies frequently address themes of historical pain, poverty, displacement, and a yearning for freedom, reflecting repressive structures. They serve as a medium for preserving identity and transmitting hope, often incorporating symbols of resistance. In contrast, Russian lullabies express themes of hardship and maternal anxiety, showing a distinct historical trajectory. They contain echoes of ancient protective incantations and the unique genre of "lullabies of death," interpreted as magical attempts to safeguard the child. During the Soviet era, traditional forms were reinterpreted to align with socialist ideals, though mothers also used them to express personal grievances. A key parallel lies in the function of lullabies as a form of muted resistance. In both traditions, these songs, performed by women, convey collective and personal experiences, acting as "voices of the subaltern." They subtly articulate critiques of injustice and political conditions. The use of the Kurdish language in lullabies becomes an act of cultural defiance. Similarly, the preservation of traditional Russian lullabic forms during the Soviet period represents cultural endurance. In conclusion, while both Kurdish and Russian lullabies share fundamental roles in soothing and educating, they diverge in their dominant thematic preoccupations. Kurdish lullabies are more explicitly oriented towards collective struggle and political resistance. Russian lullabies often blend existential themes with adaptations to state ideology. Both traditions demonstrate the power of the lullaby as a complex cultural text that nurtures the next generation while upholding values of identity and resilience, functioning as a subtle instrument of cultural memory and resistance.
FUNCTIONAL-SEMANTIC CATEGORIES AND FUNCTIONAL-SEMANTIC FIELDS IN THE SYSTEM OF FUNCTIONAL GRAMMAR
The authors of this article focus on the functional approach to linguistic research in general, and one of its branches—functional grammar—in particular. The functional approach allows for the dynamic study of linguistic system mechanisms, in terms of the interaction of form, content, and function, and the exploration of linguistic units within the unity of their semantic and pragmatic properties. Functional grammar examines functional-semantic categories—complex semantic and formal unities that express abstract semantic content. The categorical approach allows for the integration of units of different levels into a single semantic space. The semantic dominant, that is, categorical content, can be represented to varying degrees and extents by different linguistic means. These can be represented as a field model, which allows for a visual representation of the system of means for realizing a given category. The field approach allows us to conceptualize linguistic means as a unified system of linguistic means, which in traditional grammar would be divided into different levels and subsystems. Here, the connecting link is not only semantics but also function. Means with a clearly defined categorical semantics constitute the center of the functional-semantic field; the weaker this semantics, the closer to the periphery the linguistic units are located. The periphery, as a rule, exhibits a more pronounced ability to intersect with other categories and fields, and here, instances of intercategorical interaction at the semantic level are more frequent. Extended Abstract This article provides a systematic exposition of the core theoretical apparatus of functional grammar, centering on the concepts of the functional-semantic category and the functional-semantic field. The authors position the functional approach as a fundamental methodological principle in modern linguistics, enabling the dynamic study of language system mechanisms through the tripartite interaction of form, content, and function. This perspective facilitates the investigation of linguistic units within the unity of their semantic and pragmatic properties, moving beyond a purely structural analysis to consider units as building blocks of utterances and their functional laws. The cornerstone of this model, as developed in the school of A.V. Bondarko, is the functional-semantic category. It is defined as a complex semantic and formal unity—a “generalised meaning” expressed by a system of multi-level language units interacting based on the commonality of their semantic function. Examples include temporality, modality, aspectuality, and causality. This categorical approach allows for the integration of units from different linguistic strata into a single, unified semantic space. The semantic dominant, or categorical content, can be expressed to varying degrees and extents by diverse linguistic means. These means are systematised within the model of a functional-semantic field. A functional-semantic field represents the linguistic embodiment of a semantic category, structured as an ordered set of diverse, multi-level means. The field is organised as a centre-periphery structure. Its centre comprises means with the most clearly defined and inherent categorical semantics. The periphery consists of units where this semantics is weaker, more contextual, or implied. Crucially, the periphery exhibits a heightened capacity for intersection and interaction with other categories and fields, making intercategorical semantic interaction more frequent in this zone. To analyze the realisation of these abstract categories in actual speech, the theory employs the concept of a categorical situation. A categorical situation is a typical content structure, grounded in a specific semantic category and its corresponding field, which represents one facet of the total semantic situation conveyed by an utterance. In speech production, multiple categorical situations (e.g., of temporality, modality, and personalness) typically intersect and interact within a single utterance, reflecting the complex, integrated nature of thought and speech activity. Consequently, functional grammar is fundamentally integrative and systemic. It expands the traditional domain of grammar beyond morphology and syntax to encompass the study of grammatical unities within their full linguistic and contextual environment, including lexis and the speech situation. This approach synthesises grammatical, semantic, and functional analyses, aiming to describe not merely an inventory of forms, but the systemically organised principles governing thought and speech activity through language.
THE LITTLE MAN IN AN AGE OF SOCIAL DISASTER (BASED ON A.G. VOLOS'S NOVEL "KHURRAMABAD")
This article explores the traditional Russian literary image of the "little man," as portrayed in Andrei Volos's novel "Khurramabad." The work traces the fates of socially vulnerable people in the post-Soviet space. The authors of the article analyze the vectors of development and transformation of the heroes. Through the prism of three key characters – Nizom, Nikolai Yamninov and Rakhmatulla – the work reveals three different paths of existence for the “little man” in an era of catastrophe: Moral degradation and loss of self under the pressure of circumstances; the acquisition of inner resilience and rebellion against the new "masters of life"; spiritual resistance to chaos through fidelity to beauty and creative work. The article expresses the thesis that A. Volos, developing the classical tradition, demonstrates the versatility and ability of the “little man” not only to be a victim of history, but also to make moral choices, maintain human dignity and grow spiritually in inhumane conditions. Extended Abstract This article examines the transformation of the traditional Russian literary image of the "little man" in Andrei Volos's novel "Khurramabad." The authors, position their analysis within the continuum of Russian literary history, arguing that Volos both continues and reconfigures this classic archetype to reflect the post-Soviet condition. The novel serves as a vehicle for exploring the fates of socially vulnerable individuals amidst the social catastrophe of the Soviet Union's collapse. Through a close reading of three central characters, the article identifies three distinct vectors of development, revealing the "little man" not merely as a passive victim but as an agent capable of moral and spiritual response. The analysis centers on the divergent paths of Nizom, Nikolai Yamninov, and Rakhmatulla. The first path, embodied by Nizom, is one of moral degradation and loss of self under the pressure of circumstances. A simple tractor driver drawn into civil war, Nizom becomes a mercenary, his initial aversion to violence—symbolized by his refusal to eat meat—eroded by necessity and historical forces. His trajectory illustrates the complete dissolution of identity and moral bearings in the face of chaos, representing a tragic failure to withstand historical pressure. The second path, demonstrated by Nikolai Yamninov, a Russian engineer in Tajikistan, showcases the acquisition of inner resilience and rebellion against the new "masters of life." Initially portrayed as an exiled and humiliated figure losing his home and place in society, Yamninov undergoes a significant evolution. The authors trace his journey from passive suffering to an accumulation of internal tension, culminating in an active, desperate rebellion. This progression moves beyond classical victimhood, demonstrating the "little man's" capacity for moral fortitude and defiant action. The third path is represented by Rakhmatulla, a gardener whose existence is defined by spiritual resistance to chaos through fidelity to beauty and creative work. Cultivating roses—symbols of purposeless beauty—becomes his form of philosophical opposition to surrounding violence. He is presented as a carrier of quiet truth, whose созидательный (creative) labor and internal freedom exemplify how dignity can be preserved. His character asserts that the "little man" can act as a keeper of spiritual values. The article concludes that Volos, developing the classical tradition, demonstrates the versatility of the "little man," who is shown to make moral choices, maintain dignity, and grow spiritually within inhumane conditions. The novel becomes a chronicle of post-Soviet survival, affirming the enduring humanistic potential of this literary tradition to express the grandeur of the human spirit through the seemingly insignificant individual.
EMOTIONAL AND ASSESSMENT COMPONENT IN THE LANGUAGE IMAGE OF ARTIFICIAL INTELLIGENCE IN THE RUSSIAN AND CHINESE MEDIA SPACE
Artificial intelligence has ceased to be a technology of the future and has now permeated all spheres of society. Consequently, the topic of artificial intelligence is increasingly coming under the close scrutiny of the media. However, behind seemingly similar headlines in Russian media discourse, there lie important distinctive features in how the topic is presented. The empirical basis for this study consisted of 30 headlines from Russian media outlets. The results revealed that the Russian discourse is characterized by a pragmatic adaptation to existing challenges. The topic of integration into alternative international structures, such as BRICS and alliances with China and Belarus, takes center stage in Russian media discourse. An analysis of emotionally-evaluative language (e.g., "helps," "more effective," "threat") demonstrates its pragmatic focus and a distinct undertone of concern. As a result, a complex image of artificial intelligence is formed: on the one hand, it is a serious external challenge, and on the other, it is a key tool for modernization, solving domestic problems, and strengthening positions within friendly strategic alliances. In contrast, Chinese media discourse frames artificial intelligence as a strategic national project aimed at consolidating the country's position as a global technology leader, which emphasizes a unique "Chinese approach" to the development of this technology. Extended Abstract This study conducts a comparative linguistic analysis of the emotional and evaluative component within the media representation of Artificial Intelligence (AI) in the Russian and Chinese information spaces. The empirical basis consists of thirty headlines from each national media sphere, collected via Google News and Baidu News in October 2025. The material is systematized into four core thematic blocks: Risks and Ethical Dilemmas; Economy and Business; Education and Talent Support; and State Governance and International Cooperation. A central finding is the structural parallel in both discourses, organized around identical thematic blocks and dominated by neutral-to-positive connotations. Artificial intelligence is represented primarily as a pragmatic tool for solving practical tasks, with an acknowledged necessity for careful regulation. However, a deeper analysis reveals significant divergences that reflect specific national narratives and strategic priorities, expressed through distinct emotional and evaluative language. The Russian media discourse is characterized by a pragmatic adaptation to existing challenges. The narrative accentuates solving internal tasks—such as regional experience, education for schoolchildren, and business efficiency—and integration into alternative international structures, notably BRICS and alliances with China and Belarus. An analysis of the emotional-evaluative lexicon demonstrates its practical focus and a distinct undertone of concern. This is evident in the lexical opposition between the "human" ("live employees," "real person," "experts") and the "artificial," alongside vocabulary such as "helps," "more effective," "threat," "horror," and "complained." The resulting image of AI is complex and dual: it is simultaneously a serious external challenge and a key tool for modernization, solving domestic problems, and strengthening positions within friendly strategic alliances. In contrast, the Chinese media discourse frames artificial intelligence unequivocally as a strategic national project aimed at consolidating the country's position as a global technological leader. The emphasis shifts from adaptation to proactive shaping, positioning China as a creator of norms and a provider of a "Chinese solution" for global governance, exemplified by phrases like "‘AI+’ at the UN level" and "global management of AI." This discourse employs distinctive ideologically coloured lexis, such as "high-quality development," "global mutual benefit," and "intelligent good," which underscores the unique "Chinese path" or "Chinese specificity" in developing this technology. In conclusion, while both Russian and Chinese media approach AI with a regulatory and instrumental perspective, their linguistic images serve different national narratives. The Russian discourse reflects a context of navigating contemporary challenges and reinforcing sovereignty within alternative geopolitical blocs. The Chinese discourse articulates a confident vision of technological supremacy and global normative influence, constructing AI as a vehicle for civilizational assertion and the export of its developmental model.
MANIFESTATION OF INTERFERENCE IN RUSSIAN SPEECH OF TAJIK LANGUAGE NATIVES
The article talks about eliminating the phenomenon of interference in Russian language classes. The phenomenon of interference arises as a result of interlingual interaction in conditions of a language environment that is different for the student, when studying a language other than his native one. This is a complex psycholinguistic phenomenon, caused at the level of linguistic consciousness by the overlap of models of two different languages. Interference is a natural phenomenon when learning and using multiple languages, and understanding this phenomenon can help you better learn and use languages. The study of the phenomenon of interference is of great importance for the methodology of teaching non-native and foreign languages. To select a system of exercises to eliminate interference in the Russian speech of bilinguals, it is necessary to understand the mechanism of its occurrence. If we consider the phenomenon of interference in the context of the linguistic aspect, then this may mean the influence of one language on another during their interaction. It occurs when two or more languages ​​come into contact or interact with each other in a particular environment, such as in multilingual societies or in bilingual education. A methodological consideration of interference from a linguistic perspective allows us to better understand how different languages ​​interact with each other and how this process can influence language interaction, learning and communication. A teacher, working with Tajik students, must select a system of exercises for mastering grammatical categories of the Russian language that will help students avoid the influence of their native language in reproducing Russian speech, taking into account the grammatical features of the language being studied. Depending on the difficulties Tajik students experience in mastering the Russian language, various types of interference influence of the native language on the target language arise. Accordingly, in Russian language lessons, students should be given the types of tasks and exercises that will help them acquire the skills of correct Russian speech. Extended Abstract This article addresses the manifestation of the phenomenon of interference in Russian language classes. The phenomenon of interference arises as a result of interlingual interaction in conditions of a language environment that is different for the learner when studying a language other than their native one. This is a complex psycholinguistic phenomenon, caused at the level of linguistic consciousness by the overlap of models of two different languages. Interference is a natural phenomenon when learning and using multiple languages, and its study is of great importance for the methodology of teaching non-native and foreign languages. The methodological basis of the research incorporates the positions of psycholinguistics, the theory of interlingual interference, contrastive linguistics, and the methodology of teaching Russian as a non-native language. A systematic comparison of the grammatical structures of Russian and Tajik languages is presented, highlighting fundamental differences. These include the absence of the categories of gender and case in Tajik, the presence of a specific syntactic link—izafet (the combination of a defined word with a postpositive definition using a service affix)—and a fixed word order with ergative tendencies. In contrast, Russian possesses grammatical gender and case, utilizes agreement, government, and adjacency as its primary syntactic links, and has a free word order. The teacher, working with Tajik students, must select a system of exercises for mastering the grammatical categories of the Russian language that will help students avoid the influence of their native language in reproducing Russian speech. Depending on the specific difficulties Tajik students’ experience, various types of interferent influence of the native language on the target language arise. Accordingly, in Russian language lessons, students should be given types of tasks and exercises that will help them acquire the skills of correct Russian speech. The article examines different types of interference from the perspective of its source: interference from the native language, secondary interference from a first foreign language, intra-lingual interference within the target language, and reverse interference. It also distinguishes between explicit (direct) and implicit (indirect) interference. The manifestation of interference in the Russian speech of Tajik students can be observed at various levels: in phonetics and pronunciation, in grammar and syntax, in lexicon and semantics, and in pragmatics and communication. For teachers, it is important to consider interference in the Russian speech of Tajik students when developing teaching methodologies and correcting interferential errors. Special exercises and approaches can help minimize the negative influence of interference and make the learning process more effective. The final conclusion emphasizes that understanding the mechanism of interference is necessary for choosing a proper system of exercises to eliminate it in the Russian speech of bilinguals.
LEXICOGRAPHIC DESCRIPTORS OF SEMANTICS OF ADJECTIVES DERIVED FROM ZOONYMS IN MODERN RUSSIAN
The paper is focused on the study of descriptors used in lexicographic definitions of adjectives derived from zoonyms in modern Russian. On the data of two editions of the explanatory dictionary (Словарь современного русского литературного языка and Большой академический словарь русского языка) with the help of the definitional analysis it is revealed that lexicographers, first, regularly use the descriptor ‘относящийся к’ following the principle of a unified description of a general word formation meaning. Secondly, driven by the necessity to exhaustively define numerous senses of the derived words under consideration (e.g. рыбий хвост, рыбий суп, рыбий корм, рыбья натура человека, etc.), and to clarify the contextual modifications of the relation between the derived adjective and its attributed word (possession, goal, use, instrumental application, similarity, etc.) they widely apply descriptors-modifiers (‘принадлежащий’, ‘сделанный из’, ‘приготовленный из’ и др. (more than 30), which differ in frequency of their use in definitions. Extended Abstract This paper conducts a definitional analysis of the (дескрипторы) used in lexicographic definitions for adjectives derived from (зоонимы) in modern Russian. The investigation is based on material from two authoritative (толковые словари): the (БАС-1) and the (БАС-3), comprising a total of 449 (лексем). The primary objective is to elucidate the methods employed by (лексикографы) to describe the semantics of these (отсубстантивные прилагательные). The analysis confirms that (лексикографы) adhere to a principle of unified description for the general (словообразовательное значение) of these (дериваты), consistently utilizing the primary (дескриптор) (относящийся к). This (дескриптор) is applied to the overwhelming majority of the analyzed adjectives, reflecting the core relational semantics established for this derivational type in standard Russian grammars. However, alongside this unifying principle, the study reveals significant diversity in lexicographic practice. Driven by the necessity to exhaustively define the numerous (контекстуальные значения) conveyed by derived words—such as (рыбий хвост), (рыбий суп), (рыбий корм), and (рыбья натура человека)—(лексикографы) widely employ more than thirty additional (дескрипторы-модификаторы). These (дескрипторы-модификаторы) serve to specify the (контекстуальная модификация) of the relation between the adjective and the noun it modifies. Based on their semantic content, they can be categorized into two main groups. The first group, which elaborates on the general notion of (отношение), includes (дескрипторы) such as (принадлежащий), (сделанный из), (приготовленный из), (связанный с), and (предназначенный). These (дескрипторы) clarify specific relational subtypes like (посессивность), material, (цель), or (инструментативность). The second major group conveys the meaning of (подобие) or likeness, headed by the (дескриптор) (свойственный) and including (такой, как у), (напоминающий), (похожий), and (имеющий цвет). The research demonstrates that the choice of a specific (дескриптор) is pragmatically motivated and largely predetermined by the semantics of the noun qualified by the adjective in illustrative examples. For instance, the knowledge that clothing is sewn dictates the use of (сшитый из), while references to food preparation call for (приготовленный из). Similarly, combinations with nouns denoting animal groups trigger the (дескриптор) (состоящий из). The study concludes that beyond the basic (отношение) indicated by (относящийся к), a wide spectrum of more specific relations exists. These reflect the linguistic community's encyclopedic knowledge about animal characteristics, anatomy, habitat, and, crucially, their practical applications by humans. By employing this array of (дескрипторы-модификаторы), (лексикографы) aim not only to acknowledge the general derivational connection but also to explicitly clarify the nature of the semantic link to the motivating (зооним). This practice creates a detailed informational space within the (словарная статья), facilitating accurate decoding by the user and moving beyond reliance on the predictability of meaning solely from context.
CATEGORICAL SITUATION OF CAUSATIVITY EXEMPLIFIED BY THE RUSSIAN VERB ТРЕВОЖИТЬ
This paper is developed within the framework of the functional-grammatical approach and presents a detailed study of the mechanisms of inter-categorial interaction, focusing on the emotive causative verb тревожить. The main objective of the study is to construct a comprehensive model demonstrating how a combination of functional-semantic categories (FSCs) is actualized across diverse contexts of this verb's usage. Based on a comprehensive analysis of examples extracted from the National Corpus of the Russian Language (NCRL), the study demonstrates that the categorial situation represented by the verb тревожить constitutes an inter-categorial inclusion. Its core is formed by the inseparably linked categories of causativity (instigation of a state) and emotivity (conveyance of the emotion of anxiety). However, the model extends beyond this pair. The work identifies and systematically describes the phenomenon of inter-categorial crossing – the dynamic interaction of the core pair with peripheral functional-semantic categories. Analysis reveals that contexts featuring the verb тревожить regularly activate categories such as intensity (e.g., adverbs сильно, слегка), iterativity (verbs with the prefix по: потревожить, temporality (aspectual-temporal verb forms), instrumentality (тревожить звонками), locality (тревожить на работе), and taxis (тревожить, пока не ответит), which find direct expression through specific lexical and grammatical markers. The scientific novelty of the research lies, firstly, in describing the verb тревожить as a complex center of a categorial situation that organizes an entire network of semantic connections around itself. Secondly, the study contributes to linguistic theory by identifying specific zones of its interaction with a wide spectrum of FSCs. Particular attention is paid to semantically complex cases, such as contexts involving implicit causativity, where the cause of anxiety is not explicitly named but inferred from the situation, and the phenomenon of auto-causation, where the subject and object of the action coincide in one person (тревожиться). These aspects significantly expand the traditional understanding of the semantics and functional potential of this verb, demonstrating its role not merely as a label for an action, but as a node within a complex semantic network. Extended Abstract This article, developed within the framework of the functional-grammatical approach, presents a detailed study of the mechanisms of inter-categorial interaction, with the emotive causative verb тревожить as its object. The primary aim is to construct a comprehensive model demonstrating how a combination of functional-semantic categories is actualized across diverse contexts of this verb's usage. Based on a continuous sampling of examples from the National Corpus of the Russian Language, the study proves that the categorial situation represented by the verb тревожить is an inter-categorial inclusion. Its core is formed by the inseparably linked categories of causativity, understood as the instigation of a state, and emotivity, as the conveyance of the emotion of anxiety. However, the model extends beyond this core pair. The work identifies and systematically describes the phenomenon of inter-categorial crossing – the dynamic interaction of the nuclear pair with peripheral functional-semantic categories. The analysis shows that contexts with the verb тревожить regularly activate categories such as intensity, expressed by adverbs like сильно or слегка; iterativity, marked by verbs with the prefix по- (e.g., потревожить); temporality, realized through aspectual-temporal verb forms; instrumentality (e.g., тревожить звонками); locality (e.g., тревожить на работе); and taxis (e.g., тревожить, пока не ответит). These categories find direct expression in specific lexical and grammatical markers. The scientific novelty of the research lies, firstly, in describing the verb тревожить as a complex centre of a categorial situation that organizes an entire network of semantic connections around itself. Secondly, the study contributes to linguistic theory by identifying specific zones of its interaction with a wide spectrum of functional-semantic categories. Particular attention is paid to semantically complex cases. These include contexts with implicit causativity, where the cause of anxiety is not explicitly named but inferred from the situation, often involving non-alienable anthroponomic entities like ум or воображение. Also examined is the phenomenon of auto-causation, where the subject and object of the action coincide in one person, grammatically marked by reflexive pronouns or the particle -ся (тревожиться). The analysis of corpus material confirms that the verb тревожить functions as a multidimensional semantic node. It integrates the core causal-emotive complex with peripheral categories, demonstrating its capacity for semantic diffusion across various speech registers and its role in marking different types of speech acts. These aspects significantly expand the traditional understanding of the semantics and functional potential of this verb, demonstrating its role not merely as a label for an action, but as an active node within a complex semantic network that adequately represents intricate causative-emotive relations, reflecting the multifaceted nature of human perception and experience. Thus, the emotive causative тревожить is presented as an effective means of verbalizing complex mental processes where cause-effect relationships are closely intertwined with emotional states.