Polylinguality and Transcultural Practices

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The second half of the 18th century is characterized by the creation of the basis for a new socio-cultural model for the development of interethnic relations in the Russian state, the declaration of the ideas of the originality of national cultures and religious tolerance, and a more active involvement of the foreign population in the all-Russian educational process. A historic event occurred in the education of the peoples of the Ural-Volga region: the Mari, Chuvash and Udmurts. This is due to the appearance of the first scientifically substantiated grammars of the Mari, Udmurt and Chuvash languages, which played an important role in the development of writing and book publishing in the native languages of these peoples. The purpose of this study is to analyze the lexical composition of the Mari grammar “Works Belonging to the Grammar of the Cheremis Language”, 1) revealing valuable information about the main patterns of vocabulary formation not only in certain thematic groups, but also the entire vocabulary of the Mari language; 2) reflecting the material and spiritual culture of the Mari people, their way of life and economic activity, the ways of understanding the surrounding reality and a significant part of their linguistic picture of the world. This determines the relevance of this scientific article. In the course of the work, the descriptive-analytical method and its techniques were used: observation, interpretation, classification, generalization, systematization of phenomena and facts, as well as the method of continuous sampling of factual material. It was revealed that the first grammar of the Mari language played a special role in the development of the Mari written language. Its materials served as a teaching aid in teaching Mari children elementary literacy in missionary schools, as well as future clergymen the Mari language. It marks the beginning of the history of the Mari written language and, as a consequence, the emergence of book publishing in the national language.

The paper is devoted to the study and identification of the features of the lexical fund associated with weaving and spinning in the Mari language and its dialects. These words are considered in terms of origin, semantics and word formation. This analysis is one of the necessary stages for a comprehensive study of craft vocabulary based on field data and lexicographic sources. In the materials received, vocabulary was highlighted, it was classified according to the system of thematic groups and subgroups. As a result of the study, it was established that in addition to words that coincide with the lexical units of the literary language, phonetic, lexical and semantic dialect words are found in the Mari language. The foreign language layer of the analyzed vocabulary is represented by borrowings from the Chuvash, Tatar and Russian languages. The need to study this topic is dictated by the low degree of knowledge of weaving and spinning terms in the Mari language and its dialects. The vocabulary of the subject group under consideration contains information about the material culture and economic activities of the Mari. Nowadays, spinning and weaving are a thing of the past, and with it the vocabulary associated with this type of activity disappears. The collection, systematization and comprehensive analysis of spinning and weaving vocabulary is therefore an important task for researchers. The paper uses descriptive, comparative-comparative methods and a method of structural-semantic analysis.

In the religious concept sphere, shulyk ‘health / vitality / well-being / happiness’ refers to one of the multi-valued, multi-layered, significant concepts that require deep research. The purpose of the article is to identify the content of the concept of shulyk , to describe the features of its functioning in the discourse of the Mari ethnic religion. The conceptual content of the concept, interpretation in the works of religious scholars and clergy of the Mari ethnic religion, ways of representing the concept in the texts of Mari prayers, its figurative component and semantic connections with other key concepts of the Mari ethnic religion are analyzed. In the ethno-religious concept of shulyk , such semantic features as rise, fullness, growth, joy, vitality, energy, longevity, and happiness are actualized. It has been established that, along with other basic concepts, shulyk embodies the spiritual and moral values of the people, the fundamentals of the doctrine of the Mari ethnic religion and reflects the cultural and historical ties of the ethnos.

The work is aimed at studying comparative (structural) models and comparative images (semantic features) of comparisons functioning in Mari folk songs. The structural comparative models in the analyzed texts of calendar-ritual and family-ritual songs are the following: “noun in the nominative case + postposition gaye / gane / gаy / gayak”; “noun in the nominative case + noun in the nominative case”; “noun in the nominative case + postposition semyn / semynak”; “noun in the nominative case + suffix -la ”. In the folk songs of the most productive semantic comparative models in which a person or animal is compared with the object world (the plant object: snege peledysh gaye udyr-tangem kodesh ‘girl-girl, as the flower of strawberry, remains’; zoomorphic object: shyrchyk gae latik unycam ulo ‘I have eleven grandchildren like skvorushka’; natural religious object: vutash petyryme shem ushcalet vud gych lekshe Vudava gae ‘black cow in the stable as the Mother Goddess of the water coming out of the water’; the real object: ‘ chewer muginde gay udyr-tangna kodale ‘as the carrot painted, left our soul-girlfriend’). The comparisons are symbolic in nature, reflect the people’s view of the world, and demonstrate the manifestation of linguistic creativity of speakers of dialect speech. Some comparisons in the works of Mari oral folk art have become symbols, national-specific stereotypes.

The paper is devoted to the interpretation and analysis of ornamental compositions in the costume complex of the Tsarevokokshaysk Mari of the late 19th - early 20th centuries. The model of studying the artistic and semantic interpretation as “element - motif - ornamental zone” as a constructive pattern put forward by modern researchers-ornamentologists is acceptable in the analysis of the embroidery compositions of the ethnoterritorial group of the Tsarevokokshaysk Mari. The figurative interpretation of the ornamental compositions of the costume complex of the Tsarevokokshaysk (Yoshkar-Оla) group of Mari as the most striking artistic phenomenon and richly saturated with the meanings invested in them expresses the ethno-identifying feature of folk art. The embroidered ornamental image is a source of many symbolic meanings and serves as a means of communication. This type of artistic creativity reflects the cosmological model of the world, initially formed in metal and ceramic products, and later their pictorial symbolism passed to embroidery. The images of the sun were accompanied by universal signs of a rhombus, cross, swastika, images of the animal world included such representatives as a bear, elk / deer, horse, ornithomorphic ornament consisted of a duck, swan, wood grouse, black grouse. Particular emphasis was given to the vertically placed image of the world tree, anthropomorphic images and large solar signs. Today, the complexity of deciphering ornamental compositions lies in the layering of one image over another. In expressing its attitude to the external world, the ornament, first of all, is characteristic of the most conservative tradition of manual creativity, manifested in the design of festive and ritual embroidery of both women᾿s and men᾿s costume complexes. In them, along with aesthetic and artistic manifestations, the performing techniques of women᾿s manual craftsmanship are revealed. These abstracted or quite realistic embroidered images are connected with ideological patterns and have received the most diverse manifestations in the compositional solution of the costume complex of the Tsarevokokshaysk Mari.

This research work was carried out within the framework of a relevant scientific field related to the study of local texts in national literatures. The article presents a study of the local text defined by the concept locus, namely, a philological analysis of the ‘Chukot text’ in modern Mari lyrics. The research material is the Chukot cycle of poems by Gennady Oyar ‘Northern Flashes’, created in the Mari language, with the involvement of authorized translations into Russian in some cases. The paper uses the techniques of contextual, conceptual, and structural-semantic analysis of local texts. The author of the article considers artistic techniques and means relevant to the formation of the ‘Chukot text’ (toponyms, specific natural phenomena and images, landscape, objects of vital activity and signs of national life, material and spiritual culture, folklore and mythological images and motifs, individual linguistic inclusions). Within the framework of the stated problem of ‘Other/Self’ in the author’s worldview, a set of consistently realized motives (expectation, fear, discovery, surprise, admiration, rapprochement, acceptance, recognition of kinship of souls) that make up the lyrical plot is studied; principles and techniques of inclusion in the ‘Chukot text’ of the Mari world, nostalgic notes and author’s reflections are studied. Chukotka through Mari. The author’s ‘myth’ about Chukotka as a cultural space of the northern people, characterized by extreme natural conditions, the ontological and at the same time heroic essence of people who preserve their mythology and traditions, is investigated; it is proved that the knowledge of the ‘Other’ allowed the Oyar to truly appreciate his ‘Self’ and establish himself in the Mari ethno-identity.

The study is devoted to the analysis of the features of the realization of the binary archetypal image of the House-the Anti-Dom in the structure of the Mari novels of the second half of the 20th - beginning of the 21st century. Based on the works of Mari prose writers Yu. Artamonov, G. Alekseev, M. Ilibaeva, M. Ushakova establish the functional features of the archetype: the house is the background where events develop, the house is the means of characterizing its inhabitants, the house is the actor, the artistic character of the work, the house is a reflection of modern reality. Whereas in the 1970s and 1980s, the house was a cozy, safe place that unites families, binds generations, and remains faithful to the precepts of their ancestors; from the end of the 20th century to the beginning of the 21st century, it has been transformed.

Literary translations are key in enriching the national culture, making world literature accessible to native speakers and at the same time contributing to the preservation of the identity of the people. The study of translations allows us to trace not only the historical development of the Mari language, but also to determine the role of translation in the formation of the national literary tradition. The study of the historical and cultural aspects of translations allows us to identify the connections between different eras and cultures, to understand how world literature was perceived and adapted in the Mari cultural environment. This contributes to a holistic view of cultural processes in the region. This determines the relevance of this article. The aim of the work is to analyze literary translations into the Mari language in terms of their contribution to the development of Mari culture, literature and language. The material was translations of texts of Orthodox literature, Russian literature. In the course of the work, cultural, historical and typological methods were used. This study highlights the main stages of translation, identifies key authors and works that have had a significant impact on the Mari literary process. The work emphasizes the importance of translation activities as a tool for intercultural dialogue and exchange, contributing to the integration of the Mari language into the all-Russian cultural space.

In the study one of the important problems of the methodology of teaching languages is considered - the formation of intercultural communication. Since the Republic of Mari El is multinational, multicultural, issues of language education are particularly relevant. In this article the analyze of the role of texts in the modern intercultural concept of teaching languages in the educational process is performed. The close connection between language and culture is emphasized, while it is noted that the differences between representatives of different ethnic groups, manifested not only at the level of knowledge/ignorance of the language, but also in other areas, can be overcome by penetrating into the culture of the people. This is not only about teaching foreign languages, but also about teaching the Russian language in the context of multiculturalism and multilingualism, which are most clearly manifested at present in the republic. Particular attention is paid to referring to texts of various types, functional styles when studying the discipline “Russian language and culture of speech”. The article describes ways of referring to the text when studying the topics “Literary norms of the Russian language”, “Functional styles“, “Culture of oral and written business communication”, “Speech etiquette. Ethics of speech communication”, “Stages of preparation and conducting public speeches”, “Culture of discussion and controversy”.

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