The article describes superlative, hyperlative and elative use of formally possessive constructions in a number of Turkic languages from a comparative perspective, analyzing their structural and semantic types as well as their pragmatic properties. Similar non-canonical possessive constructions are found all over Eurasia in languages belonging to various language families. One of the most unclear issues of such constructions is their origin. They could have emerged spontaneously in Turkic languages due to the inner stimuli of language development: a. From possessive reading of possessive constructions featuring the following semantic development: The construction “king of the kings” first referred to the ruler of a state consisting of subordinate kingdoms with their own rulers. For them, the emperor was “their king, the king of the kings of subordinated kingdoms”. Such constructions became a part of the pattern of titles’ formation, and due to the frequent use could develop the meaning of an extreme/high extent of the qualities associated with the notion expressed by the nominals used as their components. b. Old Turkic canonical superlative constructions could be used with and without the superlative marker on the parameter. The economy of language means could have contributed to emergence of non-canonical superlative constructions. c. These constructions could be a result of contacts of Turkic peoples and their languages with world religions and translation of their sacred books into Turkic (beginning with Buddhism and followed by Christianity and Islam). These internal developments (e.g. economy) could be supported by external influences (structural copying of Bible prototypes) and common cultural paradigms. These issues should be addressed in more detail in the future.

Against the background of explicit ways of expressing comparisons in their broad understanding (as constituents of the functional-semantic field of comparativeness), this article considers the indirect presence of assimilations, the "target" of which are the characters of L. Ulitskaya's novel The Kukotsky Enigma and the related signed circumstances of the time being depicted. It is shown how comparisons by similarities implicitly expressed in the novel reflect the idiostylic features of the author, inclined to the detailed and often veiled expression of the severe aversion of the supporters of the Bolshevik ideology that defends the pseudoscientific "achievements" of the times of Soviet Power. The ways of representing content-subtext information in contexts with implicitly expressed assimilations, that is: the use of alogisms, allusions, metaphor-metonymic uses, antonyms, evaluative enantiosemia, "samples" of Soviet rhetoric with the "modus of importance", verbal play on the associative-derivational basis. The description of implicit assimilations in the language of the novel by L. Ulitskaya is preceded by brief explanations of the structure of the functional-semantic field of comparativeness in the Russian language, according to V. P. Berkov [1996], and the position of metaphors (as a mediated comparison by similarity) in this field. The article presents the forms of expressions for explicit comparatives and non-labeled comparatives (instrumental and genitive assimilations, nominal comparative predicate). Non-labeled comparatives are on the boundary between traditionally understood comparison and metaphor; the differences between metaphor and these syncretic forms of comparativeness are also identified.

In the following article, the phraseological nomination of childhood, juvenile age, manhood and elderly age, life experience are considered in a comparative aspect with the Turkic languages of Southern Siberia (Altaic, Tuvan, Khakass) for the first time in the Yakut phraseology, with the purpose of establishing common and specific traits of these languages, as well as identifying the sources of origin of the basic lexeme components that make up the Yakut phraseological units. The author also employs language material from Turkish and Kazakh languages, ancient Turkic written monuments to increase the probability of finding both linguistic and extralinguistic general and specific trends. Turkic phraseological units are considered in terms of “Yakut language - ancient Turkic, Turkish, Kazakh, Turkic languages of Southern Siberia”. The comparative-historical method and component analysis made it possible to establish as a whole a national-specific phraseological nomination of age and experience in the Yakut language that do not have parallels in related Turkic languages, which in turn confirms the thesis that the formation of these phraseological units has proceeded in the process its development in conditions of non-contact with the last. At the same time, some common ancient Turkic - Yakut, Yakut - Altai-Khakass, Yakut - Tuvinian - Khakass, Yakut - Tuvan, Yakut - Khakass, Yakut - Kazakh phraseological parallels were revealed, which undoubtedly testify that the phraseological system of Turkic languages has common ancient roots. It has also been established that the reference words-components that make up the Yakut phraseological units that nominate the age and experience of a person are predominantly of Turkic origin, and the presence of a certain number of Mongolisms and parallels in the Tungus-Manchurian languages indicates that these lexemes in the Yakut language have arisen because of mutual contacts and interaction. Prospects for the study are seen in the further development of the theoretical basis and methodology of phraseological comparativistics of Turkic languages.

In the following article, various manifestations of constructive alternativeness of the all-Russian and dialect phraseological units are considered. The main attention is paid to the Pechora turns (that is to set expressions, which are used in dialects of Local Pechora - the speech of radical Russian residents of the settlements located down the river to Pechora and its inflows to Pizhma, Tsilma and Neritsa) having expanded component structure with functionally various components distributors. As a rule, it is lexemes definitions (adjectives, participles, ordinal numerals, possessive pronouns), but also the components performing adverbial or object and additional functions meet. The structure of the Pechora phraseological units sometimes extends also at the expense of verbal components which, however, can represent an obligatory verbal environment, but phraseological unit not to be included. Reduction or increase in quantity of components of a phraseological unit differently influences his internal form and an idiomaticity: increases opacity of a phraseological unit at reduction of component structure and leads to clearing of an internal form at his expansion, and sometimes serves as attempt of national and etymological decoding of an image. The semantic redundancy, a pleonasm inherent in some turns with components distributors. In some cases the specifying component can provoke semantic shifts of phraseological units or promote representation of other mental installations. The practical value of comparison of dialect and all-Russian constructive options (except conclusions about structural-semantic and figurative and pragmatical properties of phraseological units) consists in a possibility of specification of historical and etymological versions and clearings of a phraseological image.

In the following article, we classify the typical existential-spatial syntactic structures in two Khanty dialects (Kazym and Surgut) and two Nenets dialects (Forest and Tundra). We distinguish two classes of elementary simple sentences corresponding to one proposition: static, or existential-locative, denoting an un-changing state of an object in space, and dynamic, denoting transition from one point to another. Each of these classes contains causative variants denoting causa-tion of location (who keeps what and where) and causation of movement, or transition (who moves what and where), which are represented by non-elementary simple sentences. Khanty and Nenets, as well as their dialects, differ by how they represent spatial relations: in Khanty, analytical means (postpositions and preverbs) prevail, whereas in Nenets, synthetic means (case markers) are more common. Existential-spatial relations are expressed by the following means: adverbs, postpositions, case markers, preverbs (the latter are unique for Ugric languages). Kazym dialect of the Khanty language has a reduced case system, in which two cases are contrasted, namely locative-instrumental and dative-directional, express-ing static and dynamic spatial relations. In the Surgut dialect, there are two com-peting directional cases, as well as locative and ablative. In Nenets, there is a case system where each spatial case denotes a certain type of spatial relations: place, di-rection, starting point, and route. Correspondingly, in Kazym dialect, one mostly finds analytical means of expression of spatial relations; postpositions and preverbs are more frequent than in other Khanty and Nenets dialects analyzed in our work. component structure and leads to clearing of an internal form at his expansion, and sometimes serves as attempt of national and etymological decoding of an image. The semantic redundancy, a pleonasm inherent in some turns with components distributors. In some cases the specifying component can provoke semantic shifts of phraseological units or promote representation of other mental installations. The practical value of comparison of dialect and all-Russian constructive options (except conclusions about structural-semantic and figurative and pragmatical properties of phraseological units) consists in a possibility of specification of historical and etymological versions and clearings of a phraseological image.

The paper aims to compare and describe the system of the vowel phonemes in two Khanty dialects - Kazym dialect (the West-Khanty dialectal group) and Surgut dialect (the East-Khanty dialectal group) from the typological point. The statement is made that experimental phonetical data are necessary for typological generalizations in phonology. For the Surgut dialect, for which only subjective auditory descriptions have existed until recent times, experimental acoustical data based on new materials from field expeditions are presented. On the basis of the list including 130 lexemes read out by five informants, duration of the vowels, first and second formant frequencies are measured via Praat software. In the Surgut dialect 13 vowel phonemes are stated for the Trom-Agan idiom (/i:/, /i:/, /u:/, /e:/, /o:/, /ɔ:/, /a:/, /u/, /e/, /o/, /ɛ/, /ɔ/, /a/) and 12 phonemes for Yugan idiom (/i:/, /i:/, /u:/, /e:/, /o:/, /ɔ:/, /a:/, /u/, /e/, /o/, /ɛ/, /a/; at the place of the Trom-Agan /ɔ/ the Yugan /ɛ/ is being used). The new Surgut data are compared with the already published Kazym data. A typological generalization is made on the basis of the N. S. Trubetskoy’s ideas. The Khanty vocalism represents a mixed triangle-linear system. The first-syllable subsystem has a triangle typology with three timbre classes: front unrounded vowels; mid-row vowels with weak labialization; back rounded vowels. The subsystem has three degrees of height for the Kazym dialect and four degrees of height for the Surgut dialect. The not-first-syllable subsystem has a linear typology with one neutral class and opposition by height. The whole system has an opposition by two degrees of phonological length; the strength of this opposition can be rated as weak.

Neology of the Russian language of the 19th century is a promising field of historical lexicology. Russian neologisms of that era are among the main objects of attention for the compilers of the Dictionary of the Russian language of 19th century. Letters of Russian writers represent an important source for the study of neologisms, since in their correspondence with friends, colleagues, relatives, acquaintances, writers responded to changes in the sociopolitical, economic, and cultural life of Russia in the second half of the 19th century, and this was reflected in the language of the letters. We used the letters of N. S. Leskov as our source, in which one can observe different types of foreign language units. Borrowed words are often reflected in dictionaries with great delay. Leskov’s letters offer interesting material for the observation the initial stages of the use of foreign words in the Russian language. In addition, letters allow us to analyze the peculiarities of functioning of borrowed words in the Russian language. The purpose of the study is to identify loan words in Leskov's letters and to analyze their peculiarities in the aspect of the overall dynamics of Russian lexical-semantic system. The article gives the definition of the term «borrowing», and specifies criteria of the emergence of foreign language units in the lexical system of the Russian language. Material of Leskov’s letters proves that they are a valuable linguistic source for exact dating of the emergence of foreign words in the Russian language, and thus they can be used to adjust data dictionaries; and to trace the processes of adaptation of loan words in the 19th century Russian language (the processes of expansion and narrowing of the semantic structure of words, determinologization, metaphorization values).

The article reveals the ways of poetical quotation embedding in the cinematic text using the example of the poem My sight, my strength, dims... by Arseny Tarkovsky in the feature film Nostalghia by Andrei Tarkovsky. The scene from Nostalghia which includes the poem My sight, my strength, dims... is analyzed from the points of view of the main factors of transformation of a poetic text when it is cited. These factors include: the place of the quotation in the structure of the cinematic text, mechanical transformations of the text, background information, the way of the quotation embedding, visual and sound accompaniment. The analysis shows that the episode when the poem is read is one the key scenes in the film. It reveals different characteristics of the concept of FATHER in the individual world-view of the film director. The main transformation of the text boils down to its translation into Italian. The quotation is embedded into the text via audio channel. As a result of the study we arrive to the following conclusions: 1) Poetic quotations in the film Nostalghia create numerous variants of the image of father interpretation. 2) The translated Italian text Si oscura la vista. La mia forza… preserves the main idea of the poem My sight, my strength, dims... and emphasizes the motives of the lost house and dying. 3) The embedding of the poem mentioned above into the cinematic text of Nostalghia is not plot-driven, unlike the integration of the text As a child I once fell ill. 4) The poetic texts As a child I once fell ill and My sight, my strength, dims... by Arseny Tarkovsky are united in the cinematic text of Nostalghia to create a binary system making the transition from the empirical level of the text to the sacred one.

The aim of the work is to analyze the correlation between verbal, paragraphical, and visual components of the polymodal text of naïve discourse through the analysis of the concept uniting these parts of the text. During the analysis of ninety Instagram posts written in Russian, English, and French we found out several types of polymodal texts: 1) texts without text-forming concepts: 2) texts with text-forming concepts which are represented either 2.1) verbally and visually or 2.2) verbally and paragraphically or 2.3) paragraphically and visually or 2.4) verbally, paragraphically, and visually. The majority of the posts contain text-forming concepts, and they are represented at all the three levels. Types 2.3 and 2.2 are the least common. Although Instagram is a visual-centric social network, it is the verbal component of polymodal texts that represents concepts most often. Moreover, verbal component can represent all the sides of the concept connected with image perception, notion and values while non-verbal components often objectify only some of these sides. We also found out some specific traits connected with representation of concepts with the help of paragraphical means (emojis). First, metaphoric and metonymic transfers are inherent in emoji. Second, concepts can be represented by several emojis following each other. In this case each of them represents one attribute of the concept. Their order is usually random, and sometimes it causes ambiguity. As for the prospect of this research, our next step is to create the general method of analysis of concepts in polymodal texts and other polymodal objects, such as films.

A national anthem is one of the main official symbols of any country, which should ideally remain unchanged. However this demand was often violated, most often in the countries of the socialist camp. In this article we show how the socialist structure of a state affects the texts of national anthems. Based on the key features of the genre proposed by T. V. Shmeleva (1. Communicative goal, 2. The image of the author, 3. The image of the addressee, 4. Dictum, 5. The image of the past, 6. The image of the future, 7. The formal organization of the text), we describe the general characteristics of socialist countries’ anthems. The genre-stylistic analysis shows that socialist anthems of different countries expose important events in an ideological vein and, in fact, are a declaration of "communist ideas" through a poetic text, usually by indirect language means. Bases of socialist hymns often contain battle songs that express several communicative goals, one of them is imperative (a call for struggle), the other is a ritual (glorification of the country). The images of the author and addressee in socialist hymns often coincide, since these hymns are sung on behalf of the people and for him. Dictum (event basis of proposition) of socialist anthems is very rich and diverse. They often contain descriptions of military operations. The texts of such anthems are rich in toponyms, proper names, references to dates and historical events and communist symbols. The perlocutive effect for socialist anthems is especially important, since many of them were created during the period of struggle against invaders, and they were to inspire, to raise them to the battle for liberation of their homeland. The use of vivid key images (images of people, enemies, country, battle) created with the help of various expressive means is an integral feature of socialist anthems.

The article is devoted to the actual study of oral genres of political discourse, which are conditionally divided into two groups: monological (TV debates, interviews, Pryamaya liniya (as one of the varieties of the genre of interviews) and dialogical (inaugural speech, program speech, «crisis» speech about an unexpectedly problematic situation, congratulatory speech in honor of a memorable date or anniversary, welcome speech, etc. Among the monological genres the inaugural speech of the head of state attracts special attention of researchers. This is a ritual genre of oral political discourse, which is characterized by appeal to the collective addressee - all citizens of the state, strict temporal and spatial localization (speech is pronounced exactly during the solemn ceremony). The inauguration ceremonies of the news leaders of all modern democratic states are based on the same model and differ mainly in the national symbols of presidential power and the degree of solemnity of the ritual. A comparative analysis of the inaugural speeches of the former presidents of Russia and France - Dmitry Medvedev and Nicolas Sarkozy - has been fulfilled in the present article. Precisely, we have studied the characteristic functions of this type of political eloquence, namely: integrative (the consolidation of the nation in a historically significant moment), inspirational (the inspiration of the people for the upcoming great deeds and the glorification of traditional values), declarative (the proclamation by the new president of the principles of his rule) and performative (demonstration of readiness to act as the leader of a great country). Each function is realized through a traditional set of «topics» (common rhetorical slots) and through various communicative tactics.

The article is devoted to studying of the linguistic expression of assistances in the conversational speech of scholars of Novosibirsk Akademgorodok on the material of 6 decoded audio recordings of the colloquial speech of scholars. Our purpose is to define the assistance as a type of social co-agentive action, to characterize social helping actions in terms of correlation of social roles between their subjects, as well as the relationship between their operations and their structure. In the assistance, the first social subject helps the second social subject to realize some action. Thus, these actions consist of main and assisting operations, therefore they are complex co-agentive actions, or cooperative actions, whose subjects, as a rule, tend to achieve the same goal while performing different operations. From the point of view of correlation of social roles between subjects of the assistance, in most of the analyzed examples the social role of the assisting subject is higher than the social role of the main subject. As a result of analysis in terms of the relationship between operations of the assistance, it is determined that these operations are usually not the same, and the assisting operation is the cause of the main operation. The structural analysis of assistances shows that in most cases, helping actions are not realized in the fullness of the structure, and that both operations are important for actions of this type. Therefore, assistance is a complex co-agentive action consisting of main and assisting operations. Both operations are important for this action. In the studied material, such helping actions prevail when the social role of the auxiliary subject is higher than the social role of the main subject, and when the assisting operation is the cause of the main operation, therefore, these operations are not the same.

In the article, we observe communicative variants of sentences with attributive characterization semantics. We review the concept of attributive characterization and describe properties and special aspects of this type of proposition. The typical syntactic structure (TSS) of attributive characterization is N1Descr (cop) Adj1/5Qual, where N1Descr is a position of a subject-descriptive represented by a noun or its equivalent in nominative case; cop is an optional copulative verb to be, to seem etc.; Adj1/5Qual is a predicate-qualititive position (description of a subject) filled by an adjective in nominative or instrumental case, or a short form. By attributive characterization, an object or an event has a certain constant quality, e.g. He was funny. The grass is green. Structurally, variants of attributive characterization sentences usually differ from the standard TSS. In each variant of attributive characterization sentences, a certain communicative intention is utilized, that influences the syntactic composition of a sentence. Sentences like У нее синие глаза (lit. ‘By her, are blue eyes’ = ‘She has blue eyes’) is a communicative variant of Глаза - синие (‘The eyes are blue’). Such kind of sentences is structurally close to existence sentences У них есть книга (lit. ‘By them there is a book’ = ‘They have a book’). We have established that attributive characterization sentences differ from existence sentences with similar structure in semantics of a noun expressing an object that belongs to a possessor. Attributive characterization is formed if a described object is an inseparable part of a possessor Дно у Енисея каменистое (lit. ‘By Yenissey, is a rocky bottom’ = ‘Yenissey has a rocky bottom’), if an object’s description expresses an external/internal quality/property (voice, mimics, height, weight, appearance, personality, behavior, habits, code, intelligence, talent, abilities etc.) У нее необыкновенный талант, У него хриплый голос (lit. ‘By her, is an incredible talent’ = ‘She has an incredible talent’, lit. ‘By him, is a husky voice’ = ‘He has a husky voice’), and if an object is clothes or accessories, with its description depicting possessor’s appearance У него безупречный галстук (lit. ‘By him, is a perfect tie’ = ‘He has a perfect tie’). We established that a word order in such sentences doesn’t take part in forming a proposition type, but rather a thematic-rhematic articulation of a sentence. The у кого какое что (‘by someone, is a certain kind of something’ = ‘someone has something of a certain kind’) structure type expresses a general information, whereas in structures у кого что какое (‘by someone, something is of a certain kind’), что у кого какое (‘something by someone is of a certain kind’), у кого что какое (‘by someone, something is of a certain kind’), какое у кого что (‘a certain kind is by someone of something’), какое что у кого (‘a certain kind of something is by someone’), the emphasis is placed on a quality.

The article deals with investigation of plot dynamics in one of Chekov’s short stories of 1890-s. The center of the plot is outlook changes that the lead character goes through. In the process of narration it coordinates with another incident that happened to the hero’s opponent and was partially retold by him. The main character, Ivashin, has to “defend” his family honor, because his sister has run away from mother’s house. His neighbor, Vlasich, who seems to be obviously guilty, consists on his own position. His confession reveals another side of happenings - it is an unhappy man’s truth. Vlasich retells a story of a tramp, which looks like extrapolation on the actual events. His biography background is lightened by such metatypical nominations, as Gogol’s Khoma Brut, Don Quixote and even Dostoyevsky - becoming metatype in the context of his life story (“Dostoyevsky-like marriage”). Therefore, Ivashin loses his moral priority. He is confused and upset. He sees that his opponents, his sister and neighbor, are right. He has no reason to move further. Understanding the fact that only his life was false, Ivashin leaves the “sinful” house. Thus, Ivashin’s great inner work lays beside of a story, as a probable variant of his nearest future. The crisis he passes through reveals an existential problem of isolation and disconnection between people, and, at least, a problem of his own empty and loveless life. Plot development connects different senses of events. Revelation that shakes the main character is, inside the poetic structure of a story, a result of plot dynamics.

The following article is devoted to the problem of formation of the literary tradition of the Komi people. The focus of the study is the evolution and semantic transformation of the story of the Christianization of Permian (Komi), first developed in the works of Epiphanius Premudry, The Life of St. Stephen of Perm (LSP), its role in the formation of the Komi literature. Since LSP is the only historical document of that time, it is this story of Christianization with all structural components that is perceived as canonical. The study examines the specifics of the process of inheritance of the epiphanian sample of the plot of Christianization in the literary monuments of Vychegda Perm (Perm diocese), as well as the meaningful relationship between the book texts of the 15th-17th centuries and folklore monuments. The form of interpretation of the epiphanian version of the plot of Christianization of the associated images of Stephen of Perm and Pam is the artistic reception of this plot in the writer's work of I. A. Kuratov and K. F. Zhakov. This reception is a reflection of the religious and philosophical, aesthetic views of writers. At this stage of formation of the Komi literature, the reference to the plot of Christianization in the key works for the author becomes the ground for the acquisition of national identity, and for the Komi literature, its specific national features.

The article deals with the most important problems of V. Rasputin's prose, namely the problems of faith, righteousness, and motherland. It is shown that the Old Believer exile serves as the most important reference point for the writer. The prose of the artist is given through the prism of the original interpretation of the symbols of Orthodox Christianity, first of all, the image of the temple. In early art, Russia was understood and viewed as a single Church; in later works, the idea of the temple is associated with Russia of the future, that it retreated, "as partisans into the forests, into its millennium". In Rasputin's works, images of an island, a tree, a boat, a light, a house/casket, a grave serve as the temple's counterparts, around which a new existence is gradually being built up, unified, faithful to Orthodox Christianity not according to the rite, but according to the spirit and courage of non-reconciliation, the path of which resonates with the laws of the living universe (nature as a temple).

The article examines the lyrics of Boris Ryzhii in the 1990s and early 2000s. As a subject of research, the landscape discourse of lyric poetry has been selected; the category of the author's world picture has been used in the conceptual and functional aspects as a methodological research apparatus. The study of the temporal sphere of landscape discourse reveals the existential character of temporal images. Nominations of temporary natural markers, as a rule, are remotely correlated with the realities of the natural world, their semantic field is formed mainly by mythological and mythological values. Markers of temporary natural realities perform mainly plot-forming and expressive functions and are only occasionally nominative. The landscape discourse of Boris Ryzhii's lyrics explores the world of the author, imbued with a tragic worldview. But the author's tragic consciousness translates into subtext, using an elegiac, and more often, an ironic mode to complete the aesthetic object and form the image of the lyric subject. The tragic intentions of the author's consciousness of the discrepancy between "self" and "the world" are addressed to the recipient. For the culturologically knowledgeable reader, the landscape discourse of the lyrics makes it possible to reveal the world outlook problems of the author's consciousness and give his own assessment to his lyrical subject.