Issledovatel'skiy Zhurnal Russkogo Yazyka I Literatury

STUDYING THE LANGUAGE OF “A JOURNEY BEYOND THE THREE SEAS” BY A. NIKITIN IN CLASSES IN THE DISCIPLINE “HISTORY OF THE RUSSIAN LITERARY LANGUAGE”

Ольга Валентиновна Никифорова — 2025-07-02

The article is devoted to the study of the language of “A Journey Beyond the Three Seas” by A. Nikitin in classes at a university in the discipline “History of the Russian Literary Language”. One of the written monuments of the Moscow period is analyzed - “A Journey Beyond the Three Seas” by Afanasy Nikitin. It is shown that using examples from the text you can learn more about both Russian history, reflected in the monument, and about India. Linguistic innovation has been revealed: the work of Afanasy Nikitin does not correspond to the norms of the book-Slavic type of language and is based primarily on the colloquial speech of the Great Russian people. This is manifested in the predominance of words with East Slavic phonetic features over Church Slavonicisms, the use of colloquial syntactic constructions, and the reflection of changes in grammatical structure in the text. It is noted that, along with Old Russian colloquial and vernacular words, Nikitin uses Turkic, Persian, and Arabic vocabulary acquired during the trip. It is characteristic that he resorts to foreign language vocabulary even when he expresses his innermost thoughts about the Russian land, about love for his homeland and condemns the injustice of Russian nobles. It is emphasized that the distinctive feature of the style of “A Journey Beyond the Three Seas” is its laconicism, accuracy and strict factuality. In addition, interactive forms, methods and technologies of teaching are considered, providing for joint creative activity of the teacher and students while studying the language of A. Nikitin’s work “A Journey Beyond the Three Seas” in the classroom.

TERMINOLOGICAL MICROSYSTEM OF THE SEMANTIC SPACE OF SUBSTANDARD LEXICAL UNITS: ON THE EXAMPLE OF THE «STRANGER» IMAGE IN CRIMINAL JARGON

Galina Fayzieva — 2025-07-02

The active development of substandard lexicography, which began at the end of the twentieth century, led to an increase in the number of studies aimed at describing and systematizing substandard lexemes, as well as representing images in the substandard linguistic picture of the world in differently structured languages. A significant part of the research has been conducted and is still being conducted on the basis of the Russian language, one of the most ancient, the vernacular vocabulary of which has more than a thousand years of history. Note, however, that the history of the lexicographic presentation of colloquial lexemes is not so long and on Russian-speaking soil has only about three hundred years. It is the reason for the active scientific search of researchers of the Russian vernacular language, especially in terms of the description of vocabulary, representing the figurative component in the Russian substandard linguistic picture of the world. The description of the semantic space of substandard lexical units deserves special attention. The present study describes the terminological microsystem of the semantic space of substandard lexemes, representing the image of "Stranger" in the Russian substandard linguistic picture of the world.

TRAVELOGUE AS A LITERARY ENCOUNTER WITH ANOTHER: THREE AFRICAN PLOTS

Vladimir Kotelnikov — 2025-07-02

The article presents a travelogue in various literary forms as reflection of a meeting with another. This may be a discovery, both expected and unexpected. The journey is motivated by an interest in what at first appears to be alien, unknown, hints at complex content, promises heuristic surprises, which are associated with hopes for Something Else. Geographical and cultural sites with such properties were often sought just across the sea. During a trip around the world in 1853, I. A. Goncharov came to the interior of South Africa, their indigenous inhabitants, Blacks, Kaffirs, Bushmen, aroused his interest as representatives of Another breed of man, an ethnocultural group alien to him, and he got to know them in order to understand their characteristics and place among other similar groups. N. S. Gumilev went to Africa in search of Another One. He not only transferred his creative intuitions to African soil, but also strengthened them, extended them into the field of fiction and mythology. Above all the material that he found in his travels and which formed the content of his African poems, another topic arises, more intimate for Gumilev and more metaphysical in its meaning. It is present in him not in a consistent, distinct development, but in separate images, in associations. The purpose of the Italian writer A. Moravia's trip to Africa is to get her accurate information about the natural environment, about the social structure and about the mores of people in all the countries he visits. But along with the reality of Africa, Moravia also feels something different about the modern world. He sees here a clear evidence of the first days of peace, after which all subsequent development, from Adam to the present day, had to take place in the order described and predicted in the Old and New Testaments.

TULIP COLOUR IN THE COLOUR CONCEPTOSPHERE OF THE FLORAL SPACE OF THE RUSSIAN LANGUAGE: RED OR BLACK?

Tatyana Sivova — 2025-07-02

The article presents the results of a polydiscursive research (the material is lexicographic sources, data of our directed associative experiment (611 respondents), K. Paustovsky’s prose, data of the Russian National Corpus (main and poetic corpus), advertising texts posted on the free classified ads website “Avito”), devoted to the reconstruction of the segment of the colour conceptosphere of the floral space of the Russian language on the material of tulip colour descriptions. The quantitative and qualitative composition of colour terms significant in plant visualization has been established (32 colour terms); a number of ways of conveying colour impression significant for the bearer of linguistic consciousness have been revealed (20 colour composites of different composition; 10 colour sequences of different modification: two- and three-component, etc.); colour dominants have been established (red, according to the results of associative experiment, black – according to the main corpus of the Russian National Corpus, scarlet – according to the poetic corpus); the ways of expanding the colour range are described (by lexemes with the meaning of colour intensity, colour heterogeneity, multicolour, lexemes with the meaning ‘to be in bloom’, with the meaning ‘light’, less often – ‘darkness’, lexemes with implicit colour); the combinability of colour terms is revealed (mainly with the phytonym tulip, as well as with a number of phytonymic and colouristic nominations, with lexemes that actualize figurative meaning); the specificity of colouristic descriptions is revealed, which consists in conveying the intensity of colouring, in the contamination of colour and light components, in the evaluative nature of descriptions, in their gender correlation; the functional potential of plant descriptions based on the colour component is described, which is implemented in the ontological, nomenclature-classifying, expressive-expressive, culturological function, in the function of colour chronotope creating: colour spatial dimension (in the creation of colour space of nature, man, city, country, creativity, war, symbolic space, dream space, etc.) and colour temporal dimension (temporal coordinate “Time of the year”, sporadically – “Time of day”), in the prototypical function.