VERBAL AGGRESSION IN THE SYSTEM OF SPEECH ACTS THE TATAR LANGUAGE

Linguistic studies of the communicative culture of Turkic peoples are very relevant in modern linguistics. The purpose of this article is to study the means of expressing verbal aggression in Tatar linguistic culture. The research material is speech clichés with the meaning of speech aggression. Solving the tasks the author uses a descriptive and stylistic method, as well as continuous sampling, processing, interpretation and lexical-semantic analysis methods. The work reveals lexical and semantic methods and features of the expression of verbal aggression in the Tatar language. It is established that in the corpus of lexemes a special place is occupied by the use of colloquial offensive vocabulary, metaphors, epithets expressing insult, humiliation, nonsense, threat and the aggressive emotional state of the individual. The curse-malice (kargyshlar) is one of the idiomatic expressions of aggression directed against a person. The meaning of aggression is often given by interjections, introductory words, particles. The analysis shows that in the Tatar linguistic culture aggression is presented as a form of speech behavior, which is a negative emotional response of a linguistic personality. Excessive use of speech aggression in the colloquial and journalistic spheres of communication and in the language of fiction affects speech culture negatively.

THEMATIC AND GENRE ORIGINALITY OF THE REGIONAL TELEVISION CHANNELS PROGRAMMES (ON THE EXAMPLE OF SEVASTOPOL)

Thе article presents an analysis of the content produced by Sevastopol TV companies and studios. Based on Roskomnadzor data the authors provide a list of Sevastopol TV channels, describe the thematic and genre features of TV programs. The main research methods are TV channel broadcast monitoring and content analysis. The authors come to the conclusion that the TV space of Sevastopol is heterogeneous. Both state and private TV channels are present in the city media market. The authors demonstrate how depending on the form of ownership and the goals of the founders the editorial policy of TV channels and the thematic focus of programs change. Thus state TV channels cover more of the activities of the Executive and Legislative city government. Private TV channels address problematic issues of the population with some criticism of the authorities. The basis of the broadcast is informational and socio-political programs, the most common genres are interviews and news. The authors also describe video content produced by two organizations that are not registered as separate mass media, such as a branch of VGTRK – GTRK Sevastopol and a TV studio of the black sea Fleet of the Russian Federation.

COLOR TERMS ALA ‘PIEBALD’ AND SЇBAR ‘MOTTLEY’ IN THE BASHKIR LANGUAGE: HISTORICAL DEVELOPMENT AND LEXICAL SEMANTICS

The purpose of the article is to study the origin of names for piebald and mottley colors in the Bashkir language, to trace their development on the general Turkic background and to reveal the semantic features of these color designations.The relevance of the research is due to the need to study lexemes both in the comparative-historical aspect and in terms of synchronicity with the identification of denotative and connotative components in their semantics. It is revealed that the difference in the semantics of the lexemes ala ‘piebald’ and sїbar ‘mottley’ is that the word ala denotes a combination of colors with large spots, the lexeme sїbar is a color consisting of small mixed colored areas. Both lexemes are of ancient origin: аlа goes back to the Pre-Turk *ala and Pre- Altaic *ā́ lV ‘mottley’; the Pre-Turk form of the color designation sїbar is reconstructed in the form of čоpur, čаp- ‘mottley, pock-marked’ ‘unkempt, untidy’, ‘pour out (about rashes, teals)’, which is derived from the Pre- Altaic *šop`é ‘freckles, spots’. The semantic load of the lexemes ala and sїbar is stable, since in Bashkir, as well as in all other Turkic languages, they retained their original meaning. In all Turkic languages, including Bashkir, they have additional connotative semantics, which characterizes the antiquity of these meanings. Аlа, in addition to the designation of piebald color, is an epithet of fierce eyes and spring blackened snow, pigment spots on the skin, the word is used in the meanings ‘multi-colored’, ‘prominent’; sїbar is used in the meanings ‘mottled’, ‘pock-marked’, ‘flea-bitten’, ‘diverse’, ‘multicolored’, ‘variegated’, ‘changeable’, ‘freckled’. The same meanings are noted in other Turkic languages.

CRIMEA ENDEMIC HEROES IN THE REGIONAL TELEVISION AIR

The article includes analysis of heros row in the news program “Vesti,Crim” (Teleradiocompany “Tavrida”) Author determines the level of hero’s endemicity and originality, describes their occupation and political position. The emotional ground of the plots is analyzed in this article as well the ideologemes that support the hero’s presentation. A deep and systematic study of the heroes of informational plots, as one of the aspects of personification of regional news content, will help develop recommendations for optimizing and effective functioning of the regional news television program.

LEXICAL ANALYSIS OF ARCHAISMS OF THE ABAZA LANGUAGE

The Abaza language is a language with a recent system of writing, and on that ground many issues of lexicology including archaisms have not been studied monographically. The article presents the systematization of a particular case of archaisms. On the basis of more than 600 obsolete words extracted by the authors from the lexicographical sources, texts of Abaza folklore, artistic and publicistic literature and field materials, analysis of its features and classification of archaisms, the main reasons for the transition of lexems from active to passive vocabulary are revealed. The study confirmed the well-known position in General lexicology that the main trigger for archaization of lexemes is a decrease in the level of functional relevance of the word, due to the loss of relevance of the denoted (denotation) of this unit. Depending on the reason for transition to a passive vocabulary, several groups of archaisms are distinguished: a) proper lexical archaisms , b) lexical-semantic archaisms, с) lexical-phonetic archaisms, d) lexical-morphological archaisms, and e) lexical-word-forming archaisms. The process of word archaization is influenced by both linguistic and extralinguistic factors. Due to the nature of the Abaza literary language, which is recently put into writing, the concept of «archaism» or «obsolete words» is different for different generations of Abazins. Many words related to the vocabulary of agriculture, cattle breeding, sewing, etc. are already archaisms for modern youth, while for the adult (elderly) population they are still commonly used. The process of archaization of words is influenced by both linguistic and extralinguistic factors.

TOLSTOVSKY TEXT IN WORKS BY A. BLOK

The article, based on the material of A. Blok’s work, examines the elements of the Tolstoyan text as a nominal supertext of literature. It is argued that the basis of this text is the myth of L.N. Tolstoy, which has been actively developing for a century and a half until today, but at the beginning of the 20th century, when Tolstoy’s tragic departure from his own home became popular, it became especially relevant. The structure of the Tolstoyan myth is analyzed, the mythologies associated with it (mythologized constant representations) created and reproduced by A. Blok in accordance with his own poetic worldview, personal attitude to the work and personality of L.N. Tolstoy. In light of the problem posed, the poet’s lyrics, his articles, and correspondence are examined. Attention is focused on the originality of the Tolstoy text in the creative heritage of Blok, based on the proximity of worldviews, the sacralization of the image of the great writer, rejection of criticism and profanation of the image of Tolstoy in contemporary art, journalism and memoirs. Unlike other modernist movements, the Symbolists did not set the task of overthrowing the idols of the past, but on the contrary, they even defended a certain continuity of traditions, all the more so with such an original author as Blok. But the desire to protect Tolstoy from attacks on his authority also makes it possible to develop a biographical myth about the writer. The question is raised about the features of the perception of this myth in the culture and literature of the first third of the XX century.

“TO BE OR NOT TO BE?”: DISCUSSIONS ABOUT SOUL IN SOVIET LITERATURE AND CRITICISM OF THE 1920–1930S

The article is devoted to the problem of transformation of the key Russian concept “Soul” in the socialist realism literature and critique of post-revolutionary decades. It is found that for the supporters of new political system this concept is mainly related to religious ideas about divine in human being. Symptomatic for 1920s attempts to discredit this concept, to exclude it from the active vocabulary as ideologically alien anachronism are described. Complex “poputchik’s” (L. Leonov’s, M. Shaginyan’s), “internal emigrant’s” (A. Platonov’s) reflection on Bolshevik spiritual experiment is shown. Soviet River by L. Leonov, Gidrocentral by M. Shaginyan, The Street Organ by A. Platonov do indicate that Soul continues to be one of the main ontological categories for these writers. It is stated that by the mid-1930s the word Soul has not disappeared from literary language, although more often than not it has been used only in structure of idioms. The texts by F. Gladkov, I. Le, V. Ketlinskaya, B. Yasensky, G. Dalny, P. Nilin, A. Zorich, A. Carcev prove that traditional views on Soul have just not been eradicated by new ideology but have been distorted and adapted to it. The difference between categories “collectivism” and “sobornost” is demonstrated.

CORRELATION OF THE DERIVATIVES WITH COMPOSITES, DEVELOPING THE FEATURE OF SIMILARITY

The article examines the semantic structure of simple adjectives with the suffix -at- (-ат-) in their relationship with single-root composites visible, —vidnij, -obraznij, podobnij (-видный, -образный, подобный) developing the meaning of similarity. The card file of linguistic facts was compiled on the basis of the «Reverse Dictionary of the Russian Language», «The Dictionary of the Russian Language» in 4 volumes and the internet resources. Mono- and polysemic adjectives were selected with the suffix —at— (-ат-), which is combined with 28 bases. Derivation paradigms are formed, which include adjectives with the suffix -at- (-ат-) and single-root composites with suffixes of -vidnij, -obraznij, podobnij (-видный, -образный, подобный), integrable by one or another basis. Derivatives with the suffix —at— (-ат-) comprise seven fourmembered paradigms with composites. Based on internet resources, in each derivational paradigm, compatible series of adjectives were formed, in which the number of adjective actors varies. The maximum number of lexical distributors was recorded in a paradigm with the basics of tarelk— (тарелк-) and shishk— (шишк-). Name distributors are included in various thematic groups. The compatibility analysis of single-root lexical units is intended to reveal certain semantic nuances in the transmission of the attribute of an object and answer the question of whether adjective composites with a similarity value are doublets. Thus, the leading study is the valency analysis.

BIG ART AND BIG POLITICS: WHY WINSTON CHURCHILL RECEIVED THE NOBEL PRIZE IN LITERATURE BEFORE ERNEST HEMINGWAY?

The article attempts to solve one of the mysteries of the world literary process of the 20th century. The author explains the reasons for the unusual choice of the Nobel Committee, which presented the outstanding British politician Winston Churchill in 1953 with the prize in literature, preferring him to such recognized masters as Ernest Hemingway, John Steinbeck, Albert Camus, Jean-Paul Sartre, Boris Pasternak, Mikhail Sholokhov, Vladimir Nabokov, Jorge Luis Borges, Jerome Salinger.According to the researcher, the choice of the Nobel Committee was determined by a number of factors: Churchill’s undoubted literary talent, manifested, however, first of all, in historical and memoir literature; the vast artistic legacy created by Churchill in these genres; outstanding public speaking skills of a British politician; charisma and political authority of his personality, as well as the circumstances of his life.Winston Churchill’s political, literary, and journalistic heritage retains its significance today, and his participation in the 1945 Yalta Conference lends the study a geographical proximity to Crimea. At the same time, the article allows for a specific historical example to analyze the decision-making mechanisms to award the most prestigious literary prize in the world.

«SECRETS OF THE SOUL» AND REALITY IN THE LYRIC POETRY OF YA. P. POLONSKY

The article deals with the originality of the romantic method of Ya. P. Polonsky: the formation of the image of the lyrical hero in the poet’s early poetry in the spirit of romantic subjectivism of the early 19th century and its transformation in mature poetry, the refraction of the psychological personality of the creator in his work, the consonance of the image of the romantic hero to the mental and psychological constitution of Polonsky-the human. The artistic realization of the romantic worldview of Ya. P. Polonsky is viewed: in his appeal to fantasy plots, to the «parallelism» of the world of nature and the inner life of man, the intertwining of the «existential», «real» with the ideal-romantic in «dream» poetry, in the setting of the theme «Poet and poetry» is indicated. The “off-text image” of Polonsky in his early lyrics presented to the readers as a detached romantic. At the same time, the poetry of Ya. P. Polonsky was characterized by the effect of «accessibility», openness of the poet’s peace of mind. Over time, the poet forms his own individually outlined world of «magic» romanticism, conformable to his psychological state, mood that was recognized byhis contemporaries. In setting the theme «poet and poetry» the canons of the romantic tradition are observed: the poet – prophet is unnecessary among people, but is proud of his solitude, serving the highest ideals. But for Polonsky it is not an abstract solitude. It is a constant and depressing understanding of one’s own disorder with a conscious talent, a humiliating material dependence on people who are unfamiliar and unavailable to bursts of inspiration and who “condescend” to the poet. The analysis involved the lyrics of Ya. P. Polonsky of different years, diaries, memoirs, contemporary poetry criticism, periodicals and archival documents.