Nizhnevartovsk Philological Bulletin

His article proceeds from the premise that the study of K.D. Balmont's émigré work is a central issue in Balmont studies. From 1921 to 1937 was a time of almost uninterrupted creativity and, as the poet himself asserted, spiritual solitude. The theme of home and native nature is relevant to all Russian literature of the 20th century, including the literature of the Russian diaspora, and without this profound connection to Russia, émigré literature would not have existed at all. Images of Russian life and “bright” Russian landscapes become recurring themes in K.D. Balmont's work. The poet yearns for his homeland and, in his poetry, recounts his childhood memories of the country while living far from it. The theme of the homeland and memories of the Russian way of life are not traced in isolated poems, but rather are integrated into the lyrical and thematic threads of the poet's émigré work as a whole. Thus, the image of the Motherland and scenes of Russian nature are fundamental in the émigré collections of K.D. Balmont (1923–1937) (“Mine to Her. Russia”, “In the Divided Distance (Poem about Russia)”, “Northern Lights (Poems about Lithuania and Rus'”), “Blue Horseshoe (Poems about Siberia)”). This article analyzes poems from the early period of émigré life, “Russia” (1923) and “Moscow” (1926), which are significant within the framework of our study. The aim of this study is to reveal the unique poetics of the lyrical images and plots of K.D. Balmont's émigré poems dedicated to Russian life and native nature. The study revealed several characteristics of K.D. Balmont's émigré poetry, namely: autobiographical quality, musicality, symbolism, imagery, and the skillful use of figurative and expressive means. Thus, the émigré lyrics of the 1920s in the context of the poetry of the Russian diaspora reveals both new tendencies and the poet’s desire to preserve what had accumulated from his previous experience.

This article provides a comparative analysis of apocalyptic motifs in A.A. Blok's poem “The Twelve” and M.A. Bulgakov's novel “The White Guard”. The research focuses on eschatological imagery as a key tool for artistic interpretation of the revolution and the Civil War. The relevance of the work is determined by the need for a systematic study of the understanding of biblical texts in the Russian literature of the transitional era. The paper proves that, despite the commonality of the subject, the authors demonstrate fundamentally different strategies for representing the historical cataclysm. Blok's poem is interpreted as the embodiment of the idea of an irreversible end, where the symbols of world conflagration and demonic blizzard become central, and the ambivalent image of Christ in the finale emphasizes the paradoxical combination of hope for transformation and awareness of the destructive nature of revolutionary chaos. In contrast, Bulgakov's novel is viewed through the prism of a cyclical model of history, where the apocalypse is understood as a stage of necessary destruction leading to rebirth. The article pays special attention to the analysis of the dream system, which performs a prophetic function and is saturated with apocalyptic symbols, as well as the transformation of the City space under the influence of demonic forces. The methodological basis is based on comparative historical and structural-semantic approaches, which make it possible to identify the specifics of the artistic embodiment of eschatological and apocalyptic themes. The structural and semantic analysis reveals the symbolism of key images and scenes. The comparative approach allows us to identify two different ways of artistic reflection: Blok's model of the impetuous end is contrasted with Bulgakov's concept of the apocalypse as a tragic but necessary transformation, reflecting the diversity of creative responses to the historical upheavals of the early 20th century.

The article is devoted to a comprehensive study of the formation and evolution of oratory in the context of preaching, which is viewed through the prism of homiletics - a key theological discipline that studies the principles, methods and forms of Christian preaching. Using historical and comparative, typological methods, as well as the method of theoretical generalization, the author covers a long historical period, starting from the inception of Christian teaching and ending with modern trends in preaching practices, and offers an analysis of the key stages and features of the development of homiletics as a scientific and practical discipline. Particular attention is paid to the study of the interaction of homiletics with rhetorical traditions, which play an important role in the formation and development of preaching as a genre. Starting from the complete denial of rhetoric in the first centuries of Christianity, preachers gradually come to the need to apply their knowledge and education in the preparation of homilies, combining the spiritual and rational principles in the sermon. The first to apply and implement this concept was Origen. As a result of the further development of preaching by the 4th century, two fundamental approaches to building Christian preaching were formed: prophetic and rhetorical. The prophetic tradition, based on the Old Testament model of prophetic service, is characterized by a predominance of emotional impact, direct transmission of divine revelation and the absence of complex rhetorical processing. In contrast, the rhetorical tradition emphasizes the strict structuring of the sermon, the use of oratory techniques and the logical sequence of presentation of the material according to the rules of ancient rhetoric. On the basis of an analysis of historical sources and theological works, the essence of each direction, their characteristics and complementary nature are revealed, creating an integral system of church preaching. The study is based on the works of leading experts in the field of homiletics and relies on fundamental works on the history of Christian preaching, which makes it possible to present a comprehensive vision of the problem of interaction between the prophetic and rhetorical principles in church preaching.

This article proceeds from the fact that the conceptual framework of classical folklore studies currently needs correction and addition. First of all, we are talking about those concepts that are designed to take into account the relationship between the period of creation of works of oral folk art, their development and functioning in modern post-industrial society. The study of the oral folk art of the peoples of Siberia, which has a long tradition, is carried out under the guidance of the Siberian folklore school. Its achievements are widely recognized in the global scientific community, but it is important to note that the works of the Western Siberian old-timer folklore have not been sufficiently studied. The presence of “white spots” on the region's folklore map can be attributed to various factors, including the complex administrative and territorial history of the modern Tyumen Region.  The article presents the experience of mastering the semantic scope of the term pastoral in Russian philological science and clarifies its congruence in relation to the prose genre of the same name, which is common among speakers of Russian old-fashioned dialects of the Tyumen region; the linguistic features and genre originality of the pastoral region are outlined. The study is based on the analysis, generalization, and systematization of modern achievements in Russian folklore studies, as well as the practice of collecting, describing, and mapping the dialects of the Russian language in their synchronous state.

This article is based on the understanding that Lewis Carroll's Alice in Wonderland is not only a fascinating fairy tale for children, but also a complex work of fiction that reveals the boundaries of the human mind and perception. It is the large number of paradoxes and nonsense that makes it unique and distinguishes it from other works in the genre of fairy tales. As a true mathematician, Lewis Carroll could not help but include logic puzzles and riddles in his work. Their paradoxical nature shows the reader that sometimes, in order to understand something, you need to go beyond your usual thinking. The article discusses such types of paradox as: simultaneous formation, achievement of a goal, time, coincidence of thought and word, faith and knowledge, surprise. Paradoxical situations are complemented by nonsense, ridiculous actions of the characters. They help to reflect the world of Wonderland, which does not obey known rules, but exists according to its own. What is considered strange and meaningless is the norm here and carries a specific purpose. For example, the March Hare lubricates the clock with butter to make it work better; gardeners repaint white roses in red so that the Queen does not find out that they planted the wrong bush; the royal court of the Jack in order to accuse him of stealing dessert, despite all the evidence of his innocence. Lewis Carroll's use of contradictory and illogical situations demonstrates how absurdities and contradictions can be tools for expressing deep thoughts and criticizing stereotypes, making the work a model of paradoxes and nonsense in children's literature.

This article examines the reflection of teenage identity in literary translation on the bases of Milena Baish's German novel for young adults, “Anton taucht ab”. The article analyzes the linguistic means of shaping the adolescent character in the literary text and the specifics of their translation. Particular attention is paid to preserving the authenticity and psycholinguistic depth of the character, as well as the choice of translation strategies that help preserve the individuality of the character. The results of the study highlight the importance of a comprehensive approach to translating young adult literature, taking into account age-related, cultural, and socio-psychological aspects of identity.

The aim of the study is to identify translation strategies that preserve the authenticity and multilayered nature of the character when the text is translated into a different linguistic and cultural environment. Based on an analysis of the original text and its translation, examples are considered demonstrating the specifics of conveying the protagonist's character, appearance, speech patterns, actions, and social status.

Particular attention is paid to preserving the emotional and linguistic uniqueness of the adolescent: their desire for independence, self-irony, use of slang, and low-sounding vocabulary. The study demonstrates that literal translation often hinders the full conveyance of a character's psychological depth and distorts their image. Therefore, strategies of semantic development, lexical-semantic substitutions, and adaptation of speech markers to the norms of the target audience are effective.

The study concludes that adequately conveying adolescent identity in translation requires a comprehensive approach that takes into account the age-specific, cultural, linguistic, and socio-psychological aspects of the character's identity. Maintaining the character's individuality not only contributes to translation equivalence but also preserves the emotional impact of the original on readers of a different culture.

In the following article language interference is being investigated from the point of the conceptual integration theory, which proposes two conceptual domains on the basis of similarities to integrate forming a blend. As well, the contact of languages provokes the conflict and then the interpenetration of two linguistic systems in the mind of a user. Two conceptual domains are presented by the contacting languages, which on the basis of the linguistic interference form a blend – a mixed language structure. Various definitions of the language interference have been observed in the article; nevertheless, all the linguists consider that the interaction of the linguistic systems in a speaker’s mind leads to the formation of the third integrated system based on the components of both contactors. This assumption has been used to elaborate and present the figure underlying the process of the language interference based on the conceptual integration. To illustrate the theory, the examples on the morphological, lexical and syntactic levels of the mixed language Spanglish have been examined. The given language is the mixture of the English and the Spanish languages, which are interfering in all hierarchical levels. The emphasis in the analysis has been made on the conceptual blending of the two language systems on the levels of Spanglish hierarchy.

This article examines the concept of an artistic image, which is inextricably linked with the term «portrait». The relevance of the research is due to the variety of approaches to the problem of creating portraits of literary characters and the ambiguity of interpretations of this phenomenon in modern literary criticism. Of particular importance is the study of portrait characteristics in the context of the development of modern literature and methods of its analysis. In the course of the work, various aspects of portrait art in literature were considered. Special attention is paid to the classification of types of literary portraits, their features and their significance for understanding the text. The main types of portrait descriptions were identified: static portrait, dynamic portrait, as well as portrait forms: characteristic and psychological portraits, portrait-description, portrait-impression, portrait-comparison. Each of these forms performs its own specific function in the text. The methodological basis of the research includes an analysis of the influence of various factors on the formation of a portrait: literary trend, artistic style, genre specifics and historical epoch. The analysis showed that the concept of a portrait in literature is much broader than a simple description of a character's appearance. The portrait becomes an important tool for creating an artistic image, helping to reveal the character, social status, and inner world of the hero. The modern approach to the analysis of portrait characteristics covers many aspects: facial features, features of gestures, the specifics of facial expressions, speech behavior and psychological characteristics. Special attention is paid to details that can tell a lot about a character: clothes, demeanor, habits. This allows you to create a multifaceted character image that reflects both the external and internal traits of his personality. It can be concluded that the portrait in literature is a multifaceted phenomenon that requires a comprehensive study, taking into account all its functional and substantive aspects. The study of portrait characteristics allows for a deeper understanding of the author's intention and the features of the writer's artistic method.