The notion “mystery” is one of the basic and favourite for F.M. Dostoyevsky. We can say, that F.M. Dostoyevsky himself as “biographic author” with all his creative work and as a human is still not studied, not understood, he is some kind of “great mystery”. He is called writer-prophet, and his prophesies are revealed step by step, through some historical period of time. Being not only the great writer, but also a great psychologist, philosopher, the expert of human’s soul, he wanted to study during all his life the depth of human’s soul, the secrets of his thoughts, feelings, emotions. The main topic of his creative work he defined as: “The human is a mystery, and it should be solved, and if you are going to solve it during all your life, do not tell that you lost your life. I study this mystery, as I want to be human”. I his first novel of the “Great Pentateuch” “Crime and Punishment” (1866) written after hard labour in exile, one of such deep mysteries is the soul of the main character Rodion Raskolnikov, who committed a hard crime - the murder for checking the theory. Since the creation of the time it is been 150 years, but the mystery of Raskolnikov’s soul both as the mystery of many other characters, including the latest, unfinished novel “The Brothers Karamazov” is still a mystery, despite this novel both as all his creative works are studied from all points. In the aspect of “mystery” some features of characteristics both of separate characters (Raskolnikov, Raskolnikov - Ivan Karamazov, Svidrigaylov - Dunya) are considered, and some other plotlines (Raskolnikov - the father of Raskolnikov, Svidrigaylov -Dunya). The specifics of mystery at F.M. Dostoyevsky is expressed through different methods for example understatement (specific, individual manner of writing) dream - reality, half-conscious state - half-sleep state - death of Svidrigaylov, the relations of Svidrigaylov and his wife, Svidrigaylov and Dunya, motive fulfilling of some significant characters, including the images of subjects (axe - hatchet) and etc.

The theoretic suppositions of the realization of the textual semantics of the words are examined. Relying on the conception of the evolution of the semantic field of the text the conditions of the actualization of the meaning of the textual units are determined and their classification types, the peculiarities of the functioning and the methods of their interaction are created. The attention is paid to holographic text unit which is formed at some stages/ At the first stage the unit of language, getting into literary text, actualizes its meaning. At the second stage the system of its potential resources is realized, basing on which the semantic field of transformed of the text itself. At the third stage the semantic the semantic widening of the work occurs in the process of linguistic development. The metaphor of the notion trans is considered. It is understood differently in different spheres: trans - hypnosis, when a human gets the thoughts about the things, which he really has are still unavailable, i.e. his consciousness is hypnotized by the units of luxury; trans as ecstasy as excited state of personality, which lets emotionally bright and not ordinary express their real feeling; trans - meditation, when the human takes comfortable, easy pose, chooses comfortable environment. t can be supposed that erotic trans is the consequence of inflated ego, that means special type of affective psychological disfunction.

The purpose is to examine the heroic beginnings of the Russian people in the story of Maxim Gorky’s “Icebreaker”. The main purpose of the study is to reveal the complexity of the image of the protagonist and the complexity of the problem itself, put forward in the story - the image of a Russian person. The methodological basis of the work was the position of research in the field of contemporary literary criticism. The main methods in the course of the work were: analysis, synthesis, comparison, analogy, deduction method, induction method, dialectical method, generalization, system approach, etc. The results of the research are theoretical propositions that can be used in modern philological science and educational practice of humanitarian faculties.

Theatrical and genre origins of M.A. Bulgakov’s novel “The White Guard” are analysed. They are mystery, diableria, singspiel, operetta, buffo. The musical score of the text is studied. The stylistic methods of language corruption are described. They are onomatopoeia, cacophony, anagram, paronomasia, syncope, apocope. The frames of cultural klinamens are defined as initiation in death and revival. Religious-spiritual influence of the work on the reader is defined as psychotherapeutic recovery. The symbolic “world outlook” is considered. The references to Tarot sign system are made and to the texts of F. Rabelais and Russian futurists V.V. Mayakovsky, V.V. Khlebnikov, A.E. Kruchenykh). The game abilities of modernist prose are revealed.

Comparative contrast of sayings and proverb expressions in Turkish and English is made. On this basis the common national-specific features are identified. The similar and distinctive features of proverbs and sayings in studied languages are identified. The historical origin of proverbs and sayings in these languages is considered. Classification of English and Russian proverbs and sayings according to their lexical and structural-semantic content is made. It is maintained that proverbs and sayings of these languages are firmly established in our life. Although they had lost its original meaning, the words acquired new meanings, namely proverbs and sayings always find a place in people’s lives. Knowing proverbs and sayings of any nation contributes not only to better knowledge of the language but also to the better understand of the way of thinking and character of the people. Comparison of proverbs and sayings of different peoples shows how much in common these people have, which in turn contributes to better understanding and rapprochement. Modern person needs to know several languages, study not only grammar but also enrich the vocabulary of wise-proverbs and sayings of different peoples.

The term “narrator” is used as functional notion, that means as a substitute for the owner of the narrative function. It is relevant for the situations, where it is established that the narrator can be an author or a storyteller. This means that the narrative instance can be the author himself (it is absolutely different from our concept of imaging of narration). The term “narrator” often completely denotes the instance more or less “subjective”, personal, coinciding with one of the characters or belonging to the world of the most powerful events. In contrast to the stylistics of the non-neutral “protester”, the “storyteller” is characterized by a specific, masculine language form. There is a method in prose when the author is in the same maintain integrity with the writer, narrator or storyteller. This method is used in the story “Шұғaның бeлгісі” (“The Monument to Shuga”) of a classic writer B. Mailin, who stood at the origins of our national prose. In the story, which was published first in the magazine “Sadak” of the Kazakh youth, who studied in Ufa madrasah “Galia”, writer-descriptor also begins with the narration. However, the name of the author is not named in composition, so we can easily relate it to the category of “descriptors” or “narrators”. In the story “The Kipchak Girl” a situation is different. In this regard, we have to turn to the issue of “author’s image” in the artwork. The integrity of narrator-character in fiction through an analysis of the story of M. Magauin “The Kipchak Girl” is considered. The concept of the author-narrator-character in fiction is analyzed on the basis of scholars-literary critics.

The story of I.A. Bunin “Mistral” is discussed. The analysis establishes a conceptual link with a series of short stories about love “Dark alleys”. Intertextual context, allusions, reminiscences of “Mistral” are established. It is shown that references to the Bible and the Psalms allow the artist to touch philosophical questions about the meaning of human life, human personality, conscious of its life limits. The philosophical attitude of the narrator-narrator in “Mistral” was alien to the optimistic susceptibility of the hero of “Dark alleys”. It is demonstrated that “eternal” and “accursed” questions in human life - taken in the view of I.A. Bunin new philosophical emphases, is treated under a new thoughtfully angle. The analysis shows that the philosophical and psychological vectors of the story “Mistral” allowed I.A. Bunin to include it in the series “Dark alleys”. But the pessimistic note of the author’s view dictated its autonomy and isolation from the cyclical texts.

The author’s style of Kiev architect and gold worker Kuzmishche of Kiev, who is considered to be the author of “Story of Killing Andrew the Pious” is viewed. Components of Kuzmishche of Kiev’s style are defined and the hypothesis that the author of “Story” Kuzmishche of Kiev is also the translator of three stories of Musin-Pushkin notebook, the author of “The Tale of Igor’s Campaign” and the author of short short story of Radziwill Chronicle is presented. It is proved that in textual criticism of “Story of Killing Andrew the Pious” three objects are revealed: according to Laurentian Chronicle, Radziwill Chronicle, Moscow-Academician List of Suzdal Chronicle, coinciding with the text of Radziwill Chronicle and according to the “Story” of Chronicler of Pereslavl-Suzdal. It is established that the problem of textual criticism of the “Story”, particularly in the history of its short redaction there are materials which were not interesting for scientists. This is the news of Andrew the Pious’s murder. The idea, that the short Laurentian redaction of the “Story” belongs to Kuzmishche of Kiev himself, is stated. The adding of extensive Hypatian redaction of the “Story” according to the Hypatian Chronicle probably were made later. It is possible that they were made by the apprentice of Kuzmishche of Kiev as of the evidence and participant of the events at the end of May in 1174 in Vladimir and Bogolyubovo and the corrections were made by Kuzmishche of Kiev himself in the written text with the help of special methods (the picture of himself in third person singular).

The problems of correlation between concepts of units of language system, units of the text and text units that make up different types of communicative information. To the number of text units refer components which are different by meaning, form and function, among which special place is occupied by non-standard author’s innovations. The relevance of the study is determined by the relevance of the song texts as means of communication in the modern communicative space. In addition, through song texts language implements such an important function as accumulative, that allows speaking about preservation in the lyrics the historical memory of the people. The song is a special type of text that combines the general poetic traditions, it is a synthetic genre, which includes socio-cultural, linguo-cultural, political, historical, geographical, psychological, ethnic elements. Analysis of song texts showed that text units with patriotic semantics form their own subsystem, which consists of thematic groups of lexical units. According to the way of lexical expressions strict borders of these thematic units can be breaken by the penetration of new words in other thematic groups of vocabulary, which leads to the extension of their semantics and at the same time the extension of semantic fields. A distinctive feature of the text units with patriotic semantics is that they mostly stay in memory, are stable background knowledge, from them one often recognizes the lyrics.

Basing on the text materials of Russian comedies of the second half of XVIII century, pieces of the outstanding playwrights A.P. Sumarokov, D.I. Fonvizin, V.I. Lukin, I.A. Krylov, A.O. Klushin, D.I. Volkov, D.I. Khvostov and many others, gallomania is considered. It is proved that linguistic phenomenon gives a clear idea of funny and strange jargon of coxcombs, and it spoils Russian language. And between lines of drama replicas there is an appeal of the authors to keep the integrity and richness of a language, to use foreign words not because of “impetuous favour” but for “need”. It is established that in XVIII century in different genres of comedies (lyric, lachrymatory, moralizing, antivilleinage, political and etc.) the malices of Russian reality were laughed - particularly coxcombs were laughed at, because their favourite way of communication was to use Russian-French jargon, “to mix the Nizhny Novgorod dialect with French”, following the French fashion. It is stated that coxcomb jargon, which was widely used in the comedies of XVIII is a junction of codes or system code attraction which were characteristic features for jargon and the later periods (for example, modern hippy slang). The facts of the codes’ switch - foreign insertions should be distinguished from this phenomenon.