The paper deals with derivational processes: meaning and syntactic functions of deverbal nouns in the literary and spoken Evenki. Three affixes are considered: - kīt (nominalization with the meaning of the place of the action, or of an abstract action), -ďĀk (nominalization with the meaning of the place of the action), and -wūn (derived nouns with -wūn have the meaning of the result of the action, of the instrument, an abstract noun meaning, etc.). It is mentioned in grammars and vocabularies that -kīt shows a quite regular polysemy ‘place of action’ vs ‘abstract noun’; This polysemy is based on real uses in newspapers (the ‘abstract noun’ meanings found in the texts are often not listed in the dictionaries). The affix -ďĀk can have only the ‘place of action’ meaning in both written and spoken texts. The affix -wūn has a lot of nominal meaning; the ‘abstract noun’ meaning is found both in the literary and in the spoken language. This meaning is widely mentioned in dictionaries and grammars. All of the three affixes occur in the prenominal adjective / modifier position with the modification function. Cases of functioning of these three affixes as adjectives / modifiers are hardly mentioned in the dictionaries, and especially in the grammars, whereas you can find the nouns with -ďĀk, -kīt, -wūn in the noun modifier function in literary texts regularly. In this function, the nominalization loses important morphological properties of a noun, such as ability to bear a possessive or reflexive affix. The nominalization in the noun modifier position can optionally agree with the noun it modifies in case and/or number: this is a characteristic feature of Evenki adjectives. In spoken texts, we have found only -wūn nominals in the modifier position; overall, these nominals demonstrate case/gender agreement more often than nominals with -kīt and -ďĀk. We can conclude that the modifier use of deverbal nouns with - wūn and especially with -ďĀk and -kīt as adjectives is an innovation, and that the spoken Evenki preserves more archaic grammar rules than the newspaper (literary) language. These data also confirm the claims of G. M Vasilevich and I. Nikolaeva that nouns and adjectives are not two distinct categories in Evenki: they are not fully differentiated neither in the lexicon, nor in grammar. Not only a considerable amount of stems are, following G. M. Vasilevich, “undifferentiated”, or under-differentiated, but the number of such affixes is also increasing.

Mennonite Germans were among the many ethnic groups that inhabited the Crimean peninsula since the end of the 18^th century until the 1940s. A special way of life, faith and language significantly distinguished them from other German immigrants. The dialect spoken by the Mennonites and called Plautdietsch (Plotditch) is a type of Low German, close to Low Prussian. During this period, two dialects were formed, which are still preserved in Mennonites communities in Siberia, in the Altai region, etc. - the dialects of Khortitsa and of Molotchna. The dialect contamination took place in new, mixed settlements, in the so-called daughter colonies. The major contribution towards studying the folklore and the language of the German colonies of the Southern regions of the USSR was made in 1920s by V. M. Zhirmunsky, a major Russian scholar, philologist, Germanist, folklorist, along with his students and assistants. The collection of the material and its linguistic description were stopped in the 1930s due to repressions against Russian Germans, as well as the researchers of their culture. The collected data were preserved in Zhirmunsky’s archive in the Sciences Academy Archive in Saint-Petersburg. The linguistic processing of these data is today an important task of Germanistics. The aforementioned archive, which is of great academic value, offers rich data on dialectology, as well as language variation and change, and will allow scholars to understand synchronic and diachronic processes in the corresponding dialects. Of particular interest are the dialectological questionnaires in Zhirmunsky’s archive, some of which were completed in the Mennonite language (dialect) Plautdietsch. Our study deals with linguistic analysis of such questionnaires. Special attention is paid by us to several phonological phenomena in Plautdietsch: palatal consonants, palatalization of long /u:/, the development of /a/ in closed syllable. The processing of the questionnaire data provides a basis for their possible comparison with the current state of affairs in the modern language, primarily in the Siberian Plautdietsch.

The article deals with the description of the key elements of the conceptual space of the short story A White, White Day by Andrei Tarkovsky, which served as a basis in the key episode of the feature film Mirror. The aim of the research is to reveal and describe the main elements of the conceptual sphere of the short story. The object of research is the short story A White, White Day by Andrei Tarkovsky published in 1970 in the magazine Film Art in Movie Makers’ Stories section. The main method used in the framework of the research is conceptual analysis of texts. To reveal the readers’ background notions about the short story and the author, to determine the semantics of the title and to reveal keywords on the basis of readers’ reception, we also used the experimental data obtained in 2017 when 51 students of Novosibirsk State University were surveyed. The participants were asked to read the information about the text and to answer 2 questions. The first one was asked before reading and was related to information known to the respondents - about the short story and its author and about their associations with the title. The second question (about the text keywords) was asked after reading. The results of the experiment were compared with the results of the analysis of the separate contexts of the short story and the possible intertextual connections, and the verbal representations of the revealed key concepts were compared with the intermedial representations of the key concepts of the feature film Mirror. The following conclusions were made. Even if readers do not know anything about the author of the text, its title and the epigraph create the particular semantic background on which the reception of the short story is superimposed: the notions about the loss of something good, about the mixture of positive and negative emotions, about the fact that the short story is based on the memories. Through the title the individual concept of the white day is introduced into the conceptual space. This concept combines emotionally ambivalent notions about the supreme happiness lost forever, and it goes back to the poetry by Arseny Tarkovsky and Anna Akhmatova. The frequently used lexemes and the short story keywords given to the respondents enable to reveal several key units of the conceptual space of the short story (the concepts of mother, water, childhood, war, wealth, grief, happiness, silence, home, church, fear, memory). The key concepts of the short story are the conceptual basis of the subsequent film Mirror where the conceptual space gets more complicated and is supplemented by some new features.

This article is devoted to the psycholinguistic study of the dominants and their “traces” in the consciousness of Homo peregrinator, a travelling person, - Lewis Carroll, the author of “The Russian Journal” (1867), which he kept during his trip to Russia. The dominants (A. A. Ukhtomsky), which are values of the motivational level of linguistic personality (Yu. N. Karaulov), leave “traces” in the thesaurus. The “traces” are investigated through three aspects of the thesaurus level: dissimilation, anisotropy (Yu. N. Karaulov) and emotion as an expression of the sensation of linguistic personality at the linguistic-cognitive, or thesaurus, level. The Lewis Carroll’s mission in Russia, his goodwill and respect were a determining factor in dealing with a surrounding unfamiliar reality. The author’s value dominant, correlated with the motivational level of the linguistic personality, contrasts with one of the other European and English authors’ travel notes.

The aim of this article is to study the variation of topical structure depending on the intentions of the speaker. The article proposes a method of comparative study of voiced texts via their topical structure, which allows observing paradigmatic potential of a sentence within a preset context. In order to do so, the thematic-rhematic articulation of the text is compared to the articulations of its audio recordings. The deviations observed serve as a representation of the communicative intentions of the speaker. In the short story under consideration, more than a half of the utterances exhibit at least some degree of variation. The examples show that the thematic-rhematic articulation of an utterance influences its meaning, the way it interacts with the context and in some cases even its syntactic structure. Thus, thematic-rhematic articulation is a key concept for describing realization of a sentence in speech.

This article is written in line with the new direction of linguistics - organizational linguistics, which focuses on the features of the functioning of the language in the organization. The research material was written corporate texts of modern engineering and construction companies: official business documents; expert reports and conclusions; information leaflets, promotional materials, texts for the corporate website and periodicals. Corporate texts are studied from the position of their client-orientation. The client-orientation policy of the company involves the identification and satisfaction of customer needs, which is considered one of the priority tasks of the client-orientation organization. This approach in the company’s activities allows you to acquire significant advantages compared with other companies in this industry, in particular, to gain the trust of potential customers, establish, and then maintain and develop relationships with them, which helps to increase the efficiency of the organization. An analysis of written corporate texts shows that the client-orientation behavior of employees and company management involves a conscious choice of speech structures. So, official business documents are characterized by stereotypical composition and traditional language expression, manifested in the abundance of ready-made speech formulas. Technical reports and conclusions written by experts based on the results of the work performed are characterized by a clearly regulated structure, the use of terminated vocabulary and abbreviations, tokens with the meaning of obligation. In advertising texts, methods of intimization, identification, animation, verbalization of concepts important to the client are used. In general, all the studied written corporate texts can be considered customer-oriented, because they meet the main principle of customer focus - the formation of mutually beneficial relations between the client and the organization.

Purpose. The article examines communication failure which is one of the major factor of Chekhov’s poetics. The problem of architectonics is based on dialogue principle in narrative and values unity. Results. A Nightmare is a story of social misunderstanding. A public character Kunin treats a country priest father Yakov as a hard-drinking person. He is highly snobbish and refuses to hear the poor priest. Finally, his revelation of someone’s else being, except his own, shakes him much. But his newly gained knowledge about social issues such as destitution is not deep. Later, Kunin calms down and ruminates over his lack of money to help father Yakov and the other poor person, the doctor. The author’s conclusion discredits his attempt to become a better person. Overall, the dialogue of positions is just quasi-communication. In his next work, Enemies, Chekhov’s poetic construction appears to be more complicated. Doctor Kirilov and Abogin, a rich man, both experience grief, but the reasons for their grief are entirely different. Doctor has lost his only little son an hour before, but Abogin compels him to save his wife. When they arrive to Abogin’s country-estate, it turns out that the woman has just run away with her lover. This farce provokes the doctor’s rage. He blames Abogin, saying that the rich man’s distress is empty and ridiculous. According to the author, the offended Kirilov can hardly be considered wrong. And once again, the author’s conclusion sums up the short story. An existential connotation manifests the communication breakdown. The third short story, An Awkward Business, is devoted to problem of total communication failure. The main character, doctor Ovchinnikov, is not heard at all. His business matter turns out to be a matter of further existence, but nobody wants to understand the essence of his trouble. Finally, his case is interpreted in a formal way and is not solved. The author simply lets things go on, standing outside the text. And this is the innovative feature of Chekov’s mature creative work. Conclusion. To sum up, in three Chekhov’s short stories communication failure is an important factor of poetics, which is developed in his later works.

The highlighting of Nabokov’s interpretational strategies in other literary texts is a relevant problem for Russian and European Nabokov studies. The goal of the article is to scrutinize the methods of reduction of a poetic text used by Nabokov in his early essay Vladislav Khodasevich. Collected Verse. The approach developed by receptive poetics allows author to describe Nabokov’s practices of reading and writing as an experience of creative game with literature of his contemporaries and predecessors. The narrative analysis is productive to characterize the point of view, to highlight the role of narrator in the structure of Nabokov's essay and his own literary work and the techniques for the transformation of Khodasevich’s poems into the prose. There are different methods of literary text reduction in Nabokov’s essay: creation of meta-plot not immanent in the original poems; selective sampling of literary contexts common for both authors; ignoring of artistic issue of ethics of beauty important for V. Khodasevich. For Nabokov, the reduction and transfer of his own techniques into the space of Khodasevich’s text is a way of approbation of patterns of artistic reality in texts of the poet, which conceptualizes the problem of boundaries of artistic talent, important for Nabokov himself.