Vol 17, No 3 (2020)

The main purpose of the article is to analyze the poetic texts of Ogdo Aksenova, who is sole representative of the Dolgan national literary tradition. The main themes, key motives and symbols of her artistic world (the image of the northern landscape, the image of the tundra, poetic variations on the theme of the seasons, etc.) are established, the ethnocultural originality of the poetic discourse (linguistic levels of expressiveness, realities of Dolgan culture) is analyzed. Special attention is paid to the genre of the song, which has folklore and mythological roots. It is emphasized that in separate collections and works the boundaries between the author’s and folklore are blurred. The article assesses the quality of the literary translation of the texts of the Dolgan poetess into Russian. The work of O. Aksenova is of great research interest from the point of view of identifying specific mechanisms of the formation and development of “minority” literature.

A fairly common trend in the global literary process is when writers - representatives of their nation and their culture - live outside their historical homeland. The search for answers to the most important questions of our time and the challenges of globalization in relation to the ethnocultural world concern each of them. A. Kahn’s work reveals how opposition of ‘one’s own’ versus ‘the other’ conveys the national image and national attitude. The principle of equality and recognition of the other as an equal to oneself is the basis of dialogue. Novels and essays by A. Kahn are largely autobiographical and aim at understanding the path of the compatriots, their mission on earth. The path of national literature in the mind of A. Kahn is from the literature of despair through the literature of longing and overcoming to the endless great literature of a great heart.

The article is devoted to the examination of elegy features and elegy mode of artistry in Russian and Tatar poetry of 70-80’s XX century. The actual basis of the research is formed by A. Kushner’s poems, modern Russian poet and Robert Akhmetzyanov, known Tatar lyric of the XX century. It is stated that elegy was not included in the circle of traditional Tatar poetry genres (wider - oriental), its’ genetic roots are bound with other forms like “marsiya”. The author comes to the conclusion, that poetic cycle “Kozge elegiyalar” (“Autumn elegies”) by Rob. Akhmetzyanov fully depicts the identity of Tatar artistic consciousness, its’ literary identity, reflecting in its’ ability to correlate its’ deep experiences with poem form and with its’ architectonic principles. The comparative analysis has shown that subjective and objective in Rob. Akhmetzyanov’s elegies exist in a different, less expressive form of contradiction than in the Russian elegy tradition, which is marked by the connection of the Tatar poet’s artistic way of thinking with folk poetry. Particularly, in the lyrical cycle the author resorts to paired images, like “ike alma” (“two apples”), which also appear in the Tatar song. The research proved that Rob.Akhmetzyanov’s creativity can be considered as “catalyst” of elegy in the national literature of the XX century: elegy form and its’ techniques contributed to the genre recognizability, more than that, elegy became the field of representation of the avant-garde spirit of the Tatar author’s creativity. In the A.Kushner’s poetry elegy and idyllic interact in the same lyrical plot, thus transforming the stable features of the genres mentioned and their modality (“Ukhodit leto” (“The summer’s leaving”), “Mne kazhetsya” (“It seems to me”) etc.

The compared languages (Uzbek and Russian) belong to languages of different grammatical structure, which has a decisive theoretical and practical significance in the cognition of linguistic phenomena. The grammatical structure of these languages is determined by the nature of their syntax and morphology. Differences in languages at different levels of their system cause translation difficulties. This is the reason for the use of syntactic transformations in the translation process. The article analyzes syntactic transformations - transformations of the structure of a sentence or one syntactic type of sentence into another, based on the material of Russian translations of A. Kadiri’s novel “ Past Days”. It is shown that transformations occupy an important place in literary translation, since it is often impossible to use correspondences from dictionaries. With the help of transformations, it is possible to change the internal form of lexical units or replace one or another syntactic structure for an adequate transfer of content. Based on factual material, the influence of lexical, grammatical and stylistic factors on the methods of interlingual replacement, means of compensation, various transformations, including syntactic transformations, is considered.

In oral speech communication is advisable to distinguish between verbal and non-verbal communication channel. The verbal channel is served by the sounds of a particular ethnic language, with which the meanings of words formed in another ethnic culture are associated. The verbal channel broadcasts non-linguistic signs: height, strength, pace, rhythm of the speaker’s voice. These signs, used intentionally or unintentionally, carry, regardless of the semantics of language means, non-verbal information about the speaker, about his attitude to the interlocutor, to the subject of communication, to the speaker himself. The study revealed the contribution of the speaker’s gender to the quality of the sounding (spoken) text in comparison with the qualities of the same text in written performance.

The article is devoted to the consideration of teaching Russian to foreign students in the context of the growing popularity of the social network Instagram as an attractive learning environment that offers a variety of online services for Russian students. Particular attention is paid to foreign sites of the Russian language, which count from hundreds of thousands to a million or more views. This allowed, on the one hand, to identify the reasons for their relevance, and on the other hand, to reveal the underutilized potential of pedagogical discourse, which suggests 1) the “human dimension” of educational activity; 2) the attitude to the student as a person with his/her own “project” of selfdevelopment and 3) a certain epistemological position of the observer.