The aim is to show the role of professor V.G. Rudelev as a founder of Tambov Linguistic School in its formation and development. We consider the term of scientific school and its invariant features which were realized in the scientific activity of this school. The main feature is developing in the Tambov Linguistic School theoretical and information method on the phonology material inspired by N.S. Trubetskoy. This method is universal and its realization proves it on the language material of different levels of language system of the Russian language. V.G. Rudelev’s role is that he could develop a research program on this method and attract to its realization scientific community of lectures and research workers of the Derzhavin Tambov State University. Results of scientific activity of the Tambov Linguistic School differ because of their novelty, theoretical and practical relevance in researches on the Russian language.

Reprinted from the portal Poems.ru. © Maria Znobishcheva, 2018. Certificate of Publication No. 118112204349

In loving memory of Vladimir Georgievich Rudelev (July 8, 1932 – November 19, 2018) – honoured worker of higher school of the Russian Federation, doctor of philology, professor, Soviet and Russian linguist, teacher, translator. 

We focus on the description of the time category and its interpretation in modern science. We present an overview of lexicographical sources and scientific papers on the definition of category and its analysis. Our purpose is to establish the specifics of artistic time as a text category based on the analysis of the time category and its typology. We give the basic definitions of time represented in different sciences: physics, philosophy, natural science and linguistics. We determine that time and space categories are interrelated and text-forming. We pay special attention to the description of artistic time. The research is based on the works of D.S. Likhachev, Z.Y. Turaeva, I.Y. Chernukhina and others. We provide the main indicators of time category in the artistic text: system of verb forms, lexical units with the meaning of time, syntactic constructions. To illustrate the results of observations, we present an interpretation of the artistic time based on materials of poetic texts of Kazakh writers and poets (T. Aybergenov, I. Isemberlin, A. Alimzhanov). We use the following techniques and methods: descriptive, comparative, observation, method of continuous sampling, linguistic and stylistic; conclusions are drawn.

Contemporary theory of metaphor highlights its cognitive nature as opposed to traditional view of metaphor as rather a trope. We address the status and significance of conceptual metaphors in English banking terminology. A large-scale corpus analysis of English banking discourse (1888728 words) is conducted to determine how this trope is used. The application of a cognitive approach to a banking discourse has led to identification of metaphoric structures characterizing banking discourse. We confirm the use of terminology system corpus for (organic, mechanical, military, liquid, sports) metaphor models. We prove that banking discourse is highly metaphoric and borrows metaphors from multiple terminological domains. We establish the evolution of certain metaphors. We define the connections between concept areas of cognitive maps. We also prove that not all semes are transferred from the source to the target area, which confirms the connection at the conceptual level. Special attention is paid to the nexus of banking institution and social and political aspects of national cultures. This in turn allows to substantiate and test the theory of conceptual metaphor, and also served as means for a detailed study of conceptual metaphors as a culturally determined phenomenon in language. Given that metaphor is a dynamic cognitive mechanism, we detect diverse ways of metaphorization.

We reveal the specificity of anthroponymicon of doctors-foreigners in the Dostoevsky’s works. The writer’s appeal to the image of a doctor is due to the desire of F.M. Dostoevsky to answer the question whether a person of this profession is only a healer of the body or can act as a healer of the soul and even spirit. Reflections on the purpose of the doctor dictated by the F.M. Dostoevsky biography: in the field of medicine worked not only the writer's father – M.A. Dostoevsky, but also his great-uncle V.M. Kotelnitsky. The purpose of this study is to identify the features of anthroponymic vocabulary used for doctors nominations. Doctors’ list of names in Dostoevsky's literary texts is socially and nationally determined, as well as chronotopical: the abundance of foreign anthroponyms is a vivid characteristic of the era depicted by the writer, when medical practice was conducted by specialists who came from other countries. F.M. Dostoevsky creates anthroponyms according to traditional models typical for a particular language. At the same time, he uses an easily disclosed etymology, in connection with which many foreign surnames can be attributed to “eloquent” and comic, contributing to the creation of an incompetent and strange doctor’s image. Another common technique of onomastic Dostoevsky’s laboratory is the assimilation of foreign name with Russian – with the aim of reducing or disclosure of the doctor’s image.

We consider the combinations of the periphrastic nature of “wolf’s sun”, “wolf’s sunshine”, “sun of wolves”, “sun of wolf”, which are used to name the night time image in the titles of the television shows and poetic texts. We establish that periphrases for naming the moon are used in order to interest readers, listeners, viewers; to avoid tautology; to inform (clarify or notify additional knowledge about the time of day), to characterize the moon and focus on certain signs of the time of day, to reflect objectively the author’s emotional and subjective assessment of the text. We reveal that the analyzed artionymic units occur as a result of the creative individual process of artionymization – the transition of common nouns into the category of proper noun – artionym. The names of the moon by means of paroemias “wolf’s sun”, “wolf’s sunshine”, “sun of wolves”, “sun of wolf” reflect both positive and negative connotation. If the “wolf’s sun” symbolizes lovers time, the night luminary characterizes by positive semantics, as evidenced by the diminutive form “sunshine” in the paroemia “wolf’s sunshine”. If there is a night-time theft or the girls do “night affairs”, the image of the moon takes on a negative characteristic. We note that in the Chinese linguistic study, periphrasis is not considered as a separate lexical and stylistic category, which makes it very difficult to translate Russian paroemias into Chinese.

We consider the ideas of the largest Russian literature studies scholars of the pre-revolutionary period in Russia, who laid the foundations of literature studies comparativistics. We establish that the modern idea about comparative literature studies is largely determined by the ideas of Russian scientists A.N. Veselovsky and V.M. Zhirmunsky. They developed individual literature studies aspects on the material of various literary facts and phenomena. We prove that on the basis of Russian scientists’ ideas, comparative literature studies were formed within the framework of the cultural and historical school that prevailed at that time, that new methodological principles and approaches are being developed on their basis, which researchers can apply for productive comparative researches in the Post-Soviet territory. We pay attention to the fact that in literature studies comparativistics nowadays emerged its own approaches: a comparative historical approach, in which genetic and contact relationships are studied; comparative typological (matching) approach, which explores thematic, figurative, genre, stylistic similarities and differences: an intertextual approach which incorporates “one text” into “another text”; the approach of inter-literary interactions when studying the translation of the written work. We substantiate that in the aspect of these approaches it is possible to better understand the national identity of national literature.

We describe the genre specificity of the V. Astafyev’s novella “The Pass”. We substantiate the originality of the genre and style system of the author’s world outlook. We focus on proving the idea of the synthetic nature of the “The Pass” genre. The need for such research is primarily due to the continuing interest in the unique work of V. Astafyev, both from critics and literature studies scholars, and from society. On the example of the writer’s first serious work, we clarify the initial artistic level and the idea of his creations. We attempt to reveal the phenomenon of genre polyphony of the writer’s works, and in particular the novella “The Pass” through the study of the works of critics and and literature studies scholars, whose works are devoted to the work of V. Astafyev, as well as through an appeal to the prose of other Russian and foreign authors. By studying the works of critics and literary critics, whose works were devoted to the work of V. Astafyev, an attempt is made to reveal the phenomenon of genre polyphony of the writer's works. We emphasize and analyze the elements typical for autobiographical novella, educational and social novels, we consider their interaction and synthesis. Actualization of traditional plot schemes typical of “frontier literature” is revealed for the first time. We reveal and discusss the important for the writer theme in novella of “exploitation of Siberia” and the ensuing historical and social phenomena. On the example of moral and ethical problems we can trace the conceptual polemic of V. Astafyev with foreign authors. 

We present the modern views of literature studies scholars, linguists and culturologists on the concept of irony in a poetic work. We analyze different ways of expressing irony on the example of contemporary Russian-language poetry by D. Nakipov. We center on material of the research literature on the analysis of the text poetics and lyrical poems of the Russian-speaking poet of Kazakhstan. Research methods: we use the method of continuous sampling to establish elements of irony in poetic texts; component and semantic analysis is used to determine the ironic meaning at various levels of literary text: lexical, grammatical, syntactic. Conclusion: in the works of D. Nakipov irony conveys the inner attitude of the narrator to what is happening, his mood and feelings through pun, antiphrasis, changes in phraseology, the use of neologisms, etc. Different ways of expressing irony create an ironic worldview. The ironic appeal, promise, readdressing, common-language and individually-author’s words and expressions with an ironic tone serves several functions (emotive, expressive, characterological) and passes several meanings (state, attitude, influence, characterization).

We consider “Tambov” pages of A.I. Solzhenitsyn’s artistic and publicistic heritage. We give the analysis of programmatic in the aspect of the declared theme of works: “An Incident at Krechetovka Station”, “Ego”, “On the Edges”. We involve fragments of the writer’s works, the material for which served as historical events in the Tambov Region and the fate of its inhabitants: “The Gulag Archipelago”, “The Red Wheel”, “Two Hundred Years Together”. Tambov theme parameters embodiments in writer’s works are specified. We also make corrections to the available comments to his works. We determine the place of the “Tambov” story “An Incident at Krechetovka Station” as a work that outlines certain features of the ideological and artistic concept of the writer, in particular, his interest in the historical past. In conjunction with simultaneously published in the early 1960s stories “One Day in the Life of Ivan Denisovich”, “Matryona’s Place”, “An Incident...” is considered as a “signature line” of the writer, his “entrance ticket” in Russian literature. The similarities and differences in the publishing fate of the stories are summarized. We carry out the comparison of historical realities documentable in official papers with the events depicted in the story. We also make additions to the title of the story interpretation in relation to the writer’s works fate.

Although the heraldry theme does not belong to the main poetry themes of Viktor Krivulin, it is indicative of his poetic reflections on the relationship between self-comprehension of the Russian authorities, the dynamics of Russian art development and the fate of a private person. V. Krivulin’s poems are adjacent to the poet’s numerous ekphrases in which the coat of arms acts as a lyrical motif and the marginality of the theme in his lyrical world proves some of the mechanisms of this type of ekphrasis. The coat of arms acts simultaneously as a representation of authority and an artifact or image, dependent on the general world art development and on the specifics of power and art relationship. Therefore, underlining in the coat of arms such aspects as collectibility, provocativeness, exoticism, correlates V. Krivulin’s heraldry poems with ekphrases, devoted to the presence of art in Saint-Petersburg and to the complex fate of artifacts in the vicissitudes of history. In V. Krivulin’s lyrical heraldry I trace the visual semiotics influence of the Tartu-Moscow semiotic school, primarily in understanding the unity of the material, form, perspective view and conditional symbols of coat of arms, which immediately recalls the method of analyzing iconography as a spiritual authority manifestation in the Russian structuralism. But at the same time V. Krivulin gives enough markers that distinguish the coat of arms from works of art, and thus showing the crisis status of art in the 20th century. I note that these coats of arms are not conditional, a reader can always find real prototypes of these coats of arms, and thus their function turns out to be a historical linkage of the lyrical plot to the historical one. Close reading of these verses allows to clarify relationship between ekphrasis and historical reflections, its paradox and dynamism in V. Krivulin’s lyrical poetry, thereby identifying in a new perspective a combination of deeply melancholic mood and satirical, almost close to Sots Art principles in his works.

Development of region image now gains the central importance as exactly because of it the territory becomes well-known and recognizable. Possibilities appear for region’s strengthening and activity manifestation in the domestic and world market. The positive territory image contributes to the improvement of investment climate, improvement and development of tourist infrastructure, increase in revenues of service sector and increase in competitiveness level. In this regard, we consider this subject relevant. We present the scientific review of definitions “image” and “region image”. We allocate the contemporary approaches to a research of region image by means of the comparative analysis. We prove that the favorable natural and cultural region heritage gives all opportunities for region positioning as an attractive investment. We analyze objective, subjective factors and problems for positive region image development.  We also describe sights of Yakutia as advertising and the guide for potential tourists as the image potential of the Republic. We conclude that development of favorable region image will give the opportunity to offer the international community the attractive region which has favorable natural, cultural and historical, social and cultural conditions.

Consideration of the social dynamics of childhood is of particular interest caused by attention to the child’s world, its values and subculture. The presented cultural and historical aspect to some extent reveals the key positions aimed at characterizing the child period from birth to 11 years. In this period, the foundations of the future personality are laid through upbringing, creative development, and the influence of various social and cultural processes. Each historical epoch made a certain contribution to the childhood picture. In antiquity philosophical views on the growing stage are formed, in the Middle Ages artists displayed the children world by painting it on canvases, the Renaissance appeals through literature to psychological aspects of childhood. The past century with collected experience of previous generations allows to reveal the full potential, previously dormant in pedagogical thought. This contributed to the emergence of new leisure facilities, the children’s movement (not only in Russia but also abroad), writing children’s literature, etc. We give the generalized characteristic of the child’s personality development process is given and we pay attention to the historical dynamics of social and cultural childhood issues. We reveal the factors that most qualitatively influence the development stage of a person, understanding the concept of “childhood”.

The Seminary influence on the governorate social life development was an integral part of social processes in the period of 1867–1884, which formed the prototype of the modern education practice. Identification of the Seminary role in the Tambov Governorate social life of the 19th century is a research component of this study, which affects the knowledge of the spiritual and moral education of society current state. Manuscript drafting source was the archival data of Tambov eparchy clergy activities of the late 19th century, the periodical press data of the same period. We interpret the obtained sources in the logic of the general civilized approach to the study of Seminary as an institution of social life characterized by regional aspects. Studies of the role of Seminary in social life have shown the sequence of its formation and development, its further socialization in the social life of the governorate. Special importance is attached to the Tambov Seminary in the years of transformations. Spiritual and moral influence of the Seminary on contemporaries, its increasingly active participation in the public life of the city, the change of its moral appearance contributed to the increase in the authority (role) of the Seminary in the social life of the Tambov Governorate.

“Zamyatin Encyclopedia” written by Doctor of Philology, Professor of the Moscow Polytechnic University T.T. Davydova [1] was discussed on May 24, 2019, on the basis of the International Scientific Center for the Study of the Creative Heritage of E.I. Zamyatin in Derzhavin Tambov State University in the framework of the program of X International Scientific Conference “Slavic World: Spiritual Traditions and Literature”, dedicated to the 1150th anniversary of the repose of St. Cyril, 210th anniversary of N.V. Gogol, 135th anniversary of E.I. Zamyatin, and the International Panel Discussion “Creative Heritage of E I. Zamyatin in New Scientific Conceptions and Hypotheses”. Well-known researchers of the creative heritage of E. Zamyatin not only from Tambov, Moscow, St. Petersburg, Saratov, Saransk, Yelets, but also from the research centers of France, Switzerland, Germany, USA, Poland, China, Japan, Ukraine participated in the discussion. Young researchers were present. The materials published below are a brief of the points of view, summaries formulated by the participants of the discussion on the “Zamyatin Encyclopedia”.

Doctor of Philology, Professor, Head of International Scientific Center for the Study of the Creative Heritage of E.I. Zamyatin L.V. Polyakova led the discussion, as well as all the work of the panel discussion.