Abstract: In his dramaturgical works, Chekhov expresses reflections on social reality, national spirit and human destiny in a more significant historical framework. Chekhov's drama play an important role in the development of modern Chinese drama. Chekhov's dramaturgical masterpieces occupy an integral place in the creation of modern Chinese playwrights. This article examines the Chekhov tradition in the dramaturgical works of the modern Chinese playwright Xia Yan. The subject of the study is the embodiment of typical images of Chekhov's drama and the reflection of the tradition of Chekhov's dramaturgy in the plays of Xia Yan. The main methods used by the author are descriptive, analytical and comparative methods. The novelty of the work lies in the fact that this article for the first time gives a detailed analysis of the metamorphosis of images from Chekhov's plays in the dramas of the famous Chinese playwright Xia Yan, as well as the reflection of the tradition of Chekhov's "Cherry Orchard" in Xia Yan's play "Under the Roofs of Shanghai". In the dramatic works of Chekhov and Xia Yan, characters are more likely to meet suffering with a smile, resolve suffering with a heart full of pain, overcome suffering and endow readers with a comic spirit so that they are optimistic about life.

Keywords: Cherry Orchard, Astrov, Ivanov, Vershinin, images, reception, Xia Yan, Chekhov, dramaturgy, Under the roofs of Shanghai

Abstract: N.A. Nekrasov's poem "Peddlers", written in the summer of 1861, reflected the poet's reflections on the peasant reform that was beginning (announced by the Manifesto on February 19, 1861). Contrary to the testimony of N.G. Chernyshevsky, Nekrasov's attitude to the reform was not completely negative. Realizing that in some aspects the conditions of the changes were unfair to the peasants, the poet nevertheless saw in the reform the beginning of positive changes – the movement towards capitalist, market relations. Describing the recent past, Nekrasov, using specific figures of traveling peddlers, models the situation of the market in which landlords and peasants act not as masters and slaves, but as buyers. The scientific novelty of the research lies in the fact that, in the analysis, the author also relies on the achievements of the current methodology of the "new economic criticism". Nekrasov shows the Russian national character as not alien to the love of market relations, the situation of purchase and sale, consequently, the emerging new living conditions, as quite favorable for the development of Russia. The necessary conditions for this development to really take place in the right direction, in the direction of improving the lives of both the nobility and peasants, as seen from this analysis, are the absence of severe ruinous wars (like the Crimean one, during which the action of the poem was transferred) and the protection of the domestic market from the expansion of European goods.

Keywords: traveling merchants, image of landlords, Russian national character, the image of the people, market economy, The Eastern War, peasant reform, Nikolai Alekseevich Nekrasov, Peddlers, new economic criticism

Abstract: This article focuses on the description of impoliteness in computer-mediated communication. The purpose of the study is to identify markers of verbal aggression a way of expressing impoliteness and to analyse the ways in which they are implemented. The material for this study was German-language comments under the Instagram posts of the largest German parties and German politicians who participated in the German Federal Chancellor elections (2021). As the main methods of research were used linguopragmatic and linguocultural types of analysis. In addition, this paper includes a continuous sampling of comments that contain signs of implicit and/or explicit verbal aggression. Then was done a contextual analysis of the selected comments. The analysis revealed that implicit and explicit types of verbal aggression are equally common in the comments under political figures' Instagram posts, and that both types of verbal aggression can be used simultaneously by the authors in the same comment. The most frequent lexical and grammatical means of implementation of verbal aggression were also distinguished. The conclusions drawn during the research can be used in further studies that focus on the peculiarities of realisation of verbal aggression in computer communication as well as in those that focus on speech culture in a computer-mediated communication.

Keywords: insult, invectives, comment, Instagram, computer communication, explicit verbal aggression, implicit verbal aggression, impoliteness, political discourse, German language

Abstract: The subject of the research in the article is the process of the origin of the national drama of Malaysia. The object of the research is information on the history of the Malay and Indonesian city theater and works of Malay literature of the first half of the twentieth century. The author examines in detail the long-term changes that took place in the Malay theatrical tradition and the factors that contributed to the emergence of written dramatic texts.The purpose of the study is to determine the mechanism of transition from the unscripted theatrical tradition to dramaturgy. Particular attention is paid to the changes in the repertoire of the Malay city theater associated with the emergence of a new type of plots. The ways of their penetration into the representations of the city theater are analyzed, their influence on the nature of performances is considered. The emergence of a dramatic text in the theatrical tradition of British Malaya has not yet been studied either in domestic Malaistics or abroad, which determines the novelty of the work. The study uses an integrated approach combining the consideration of data on theater and literature. The cultural-historical method fits the available data into the context of the epoch. The comparative method allows us to determine the results of contacts between related theatrical phenomena of the Malay world (Bangsawan theater and the Istanbul Comedy Theater). The birth of drama is seen as a transition from the existence of unscripted spectacles to the creation of plays. As a theoretical basis for the analysis, the concepts of transitivity are used, which make it possible to present this phenomenon taking into account national specifics. This is the definition of a transitional aesthetic phenomenon as an artistic presystem, introduced by A.V. Lukov, as well as the structural gradation of the literary transition, presented in the work of A. A. Stepanova on the basis of generalization of a number of previously proposed approaches. As a result of the research, the main factor that contributed to the birth of Malay drama is revealed – the appearance of realistic plots in the repertoire of the previously unscripted theater of the transitional type. According to the findings of the study, there were two sources of these plots: external borrowings and the interaction of theater with literature.

Keywords: literary contacts, city theater, spectacular form, repertoire, dramatic text, transitivity, komidi theatre istanbul, bangsawan theatre, malay drama, Literature of Malaysia

Abstract: The subject of the study is N.S. Gumilev's poem "Zvezdnyi uzhas" ["Star Horror"] - one of the poet's last works, which has ambivalent semantics and contains the potential of polyvalent interpretation. The object of the study is the conflict of the poem "Zvezdnyi uzhas", which has a historical meaning and casts light on the conflicts of the distant past. On the other hand, through the plot of the poem, the realities of the present and its perception by contemporaries at the junction of epochs are read. The authors consider in detail such aspects of the topic as the identification of the tribe to which the main characters of the poem belong as a conflict-causing factor, the implicature of the conflict is also considered in the context of the collection "Ognennyi stolp" ["Pillar of Fire"]. Particular attention is paid to the conflict with the Zend tribe mentioned in the text, which is considered in the categories of the opposition of the true and imaginary, and the ambivalence of the conflict and the plot is also highlighted. The main conclusions of the study are various ways of reading the main conflict of the poem: the conflict of the old and the new, tradition and change, fathers and children; the poem also presents the conflict of various religious movements. A special contribution of the authors to the study of the topic is the possibility of reading this poem in the categories of various types of conflict, including the conflict associated with N.S. Gumilev's fascination with Zoroastrianism. The novelty of the research lies in the fact that for the first time the connection of the text of "Star Horror" with Zoroastrianism and ancient Persian traditions and motifs is shown. N.S. Gumilev consciously turned to Zoroastrian mythology not only in his early but also in his late work, and "Star Horror" in this respect has multiple interpretations of the plot and conflict. The question of attribution of the tribe, which is the main character of the text, is raised in connection with the mention of specific realities, the name of the tribe "Zend" indicated in the text is analyzed against the background of N.S. Gumilev's interest in the Persian theme in later poems.

Keywords: historiosophy, the poem, ambivalent conflict, zends, Zoroastrianism, interpretation, conflict, plot, Gumilev, Star Horror

Abstract: The proposed work examines the media analysis of the modern creolized text of the media from the standpoint of classical hermeneutics of the German philosophers of the XVIII-XIX centuries and their modern followers. The aim of the author was to show the possibilities of interpreting a polycode media text using a hermeneutic approach, namely one of its leading methods – the hermeneutic circle. In connection with the study of the creolized media text, the author pays special attention to such a concept as a representative form of the object of interpretation, combining both linguistic and extralinguistic means of producing and perceiving meaning. The author analyzes both verbal and visual components of the media text from the standpoint of hermeneutics.   The novelty of the research lies in the consideration of diametrically opposed points of view on the process of interpretation, from the "limitlessness" of the possibilities of this process to the complete denial of the idea itself to comprehend the meaning contained in the text, from the stimulation of newly emerging possibilities of interpretation in the form of not only verbal, but also extralinguistic means, which are so rich in the creolized media text, to nostalgia for the old "respectful" model of interpretation. The idea runs through the whole article that not only hermeneutics is the optimal basis for media analysis, but also the modern creolized media text is the best suited for the practical refraction of the principles of hermeneutics.

Keywords: hermeneutics, pragmatic linguistics, representative form, media analysis, interpretation, visual component, the verbal component, creolized media text, hermeneutical circle, media linguistics

Abstract: The subject of this study is the essence and characteristics of the order and process of digitalization of national newspapers in Spain from the point of view of readers' opinions. The purpose of the study is to systematize the most relevant characteristics of the electronic versions of the leading Spanish newspapers from the standpoint of their attractiveness to the reader. The methodology of this study is based on a systematic approach and includes the following methods: analysis of scientific literature on the research topic; content analysis of electronic publications of leading Spanish newspapers; the method of sociological questioning (mini-survey); the method of statistical analysis; the method of comparative analysis for subsequent systematization of the results of empirical research. As a result of the study, the following results were obtained: the level of digital comfort of each publication for readers was revealed based on the data obtained from a mini-survey according to the criteria selected by the author. The scope of application of the research results includes such areas as political journalism, international journalism, digital journalism. The novelty of the research lies in the methodology proposed by the author for analyzing and systematizing the characteristics of national Spanish newspapers. The author of the article came to the following conclusions: the electronic editions of modern Spanish newspapers are characterized by an average level of digital comfort, which is due to the lack of adequate feedback and a differentiated subscription system.

Keywords: electronic subscription, paid content, digital comfort, target audience, spanish society, Spain, Spanish newspapers, digital edition, digitalization, digital media

Abstract: In the most complete collection of I.B. Rodnyanskaya's works, The Movement of Literature, the name of V.S. Solovyov appears more than 50 times in different contexts. The influence of the founder of philosophical criticism on the strengthening of this direction in Rodnyanskaya's works is provided both by theoretical and methodological works ("Beauty in Nature", "The General Meaning of Art", "The First Step to Positive Aesthetics", etc.) and by private literary and critical observations ("The Fate of Pushkin", "Poetry of F.I. Tyutchev", "Buddhist mood in Poetry", etc.). The purpose of this article is to identify and analyze those principles of positive aesthetics that have most influenced Rodnyanskaya's critical method.     The absence of a holistic teaching about aesthetics in Solovyov did not prevent the fact that the basic principles were used by Rodnyanskaya in private literary and critical observations. The main conclusions of the study are the data that allow us to talk about the rapprochement of Rodnyanskaya and Solovyov not only at the level of methodology, but also in the aspect of the poetics of literary and critical utterance. Common to Solovyov and Rodnyanskaya should be considered the plot, which consists in solving a problem related to the sphere of spirituality or, in a narrow sense, with the study of the artist's soul. The works of representatives of the philosophical direction of criticism are distinguished by the presence of two time layers.

Keywords: temporary organization, plot, theurgy, the image of the author, positive aesthetics, Vladimir Solovyov, poetics, literary criticism, poetry about poetry, philosophical criticism

Abstract: The article deals with the problem of the total failure of the dialogue between the world and the Other in A. Nikolaenko's novel "To Kill Bobrykin. The story of a murder." Special attention is paid to the signs of this distorted dialogue, through which the image of the main character is broadcast and the image of the world is deconstructed, adapting to the distorted human consciousness. The author discusses the causes of global chaos, which lie in the existence of all who are united by the artistic space of the novel. The world "here" and the world "there" are subjected to a detailed analysis, the interaction of these worlds in the work. Apocalyptic motives are also considered, which critics associate with the image of the end of the Soviet era, longing for the obsolete. The work of A. Nikolaenko reflects a steady tendency to depict the Other in modern literature. The image of the protagonist of Sasha Shishin's work demonstrates the inconsistency and instability of the world, which, together with the hero, is at a crossroads. The relations of the world and the Other in Nikolaenko's novel end at the point of misunderstanding and are built on the principle of the deployment of the motive of destruction. The dialogue in the world of "there" is bizarre and illusory, in the world of "here" it is absent. According to Nikolaenko, the world is totally destroyed, along with human consciousness. The deconstruction of reality becomes evidence of a world disorder in which God is dead, and a small person is not able to become one. The inability to fully live in reality is the only way for a person to exist in the world "here".

Keywords: Deconstruction, Chaos, Intertext, Text, Dialogue, Motive, World, Another, Rhythmic prose, Illusion

Abstract: In the article, the artistic natural philosophy of Albert Vasiliev is considered as part of the study of the poetics of modern Mari philosophical lyrics. Based on the material of poems included in his collection "Osh lumyshto chever polan" ("Red Viburnum on white snow", 2017), revealed the semantics and artistic functions of natural images that represent the philosophical attitude and worldview of the author and characterize his lyrical hero in a certain way. In this aspect, Albert Vasiliev's lyrics are analyzed for the first time in regional literary studies. The methodological basis of the research is the structural and semantic analysis of the poems of the Mari poet; this approach allows us to determine and describe the structural and semantic levels of natural images that reveal the artistic and philosophical concept of the author and the personality features of the lyrical hero. The article proves that natural images in Albert Vasiliev's lyrics occupy a significant place, they are not only a bright emotional background of his works (in this sense, they usually express the psycho-emotional state of the lyrical hero), but also recreate the natural philosophical views of the author and his lyrical hero (in this sense, they are mostly symbolic, projected on human life, accumulate both universal and ethnically significant values of the poet). Thanks to the natural images-symbols (phenomena and processes) used by the author in the collection "Red Viburnum on white Snow", Albert Vasiliev's natural philosophy is highlighted, inscribed in the context of the author's socio-philosophical reflections; its substantial basis is nature and power, order and harmony, universal connection and interdependence, the art of dialogue, personal certainty and inner freedom.

Keywords: natural philosophy, semantics of the image, lyrical hero, philosophical lyrics, Albert Vasiliev, lyrics, modern Mari poetry, Mari literature, poetics, image-symbol

Abstract: The philosophical nature of Tyutchev's poetry was noted by researchers of his work during the poet's lifetime. The study of Tyutchev's work makes it possible to trace the origin of a unique direction of philosophical thought in Russian poetry of the XIX century – religious existentialism. The research carried out within the framework of this article allowed us to trace the genesis of the original direction of religious existentialism in the poetry of F. Tyutchev, who interpreted Nature in his work in philosophical categories. In his poetic works, Tyutchev does not just depict the splendor of Nature, but shows his own idea of the essence of the universe and tries to solve the riddle of human existence through the knowledge of the secrets of Nature, which is presented as proof of the existence of God. Thus, Tyutchev's poetry of Nature is regarded as existential poetry, since it gives a person an answer to the question of the meaning of his existence. In Tyutchev's poetry, the tragedy of human existence correlates with a similar theme developed in the philosophical treatises of the founder of existentialism, S. Kierkegaard, and subsequently continued in the works of the German existential philosopher K. Jaspers. Kierkegaard imagined a gloomy reality where a person is doomed to exist, plunged into the abyss of despair. At the same time, the founder of existentialism offered man a way out of tragic existence through the process of self-improvement, that is, the formation of his own personality, and striving for God. However, the process of becoming a personality is also a path to the tragedy of being, as it leads to a violation of harmony between man and Nature. It is this existential problem, which is related to the borderline situation of Jaspers, that lies in the focus of Tyutchev's attention, who described in poetic form the relationship between man and Nature and showed the only possible way out of this situation through making an existential choice in favor of accepting faith in the true God.

Keywords: aesthetics, Jaspers, Kierkegaard, Tyutchev, poetry, philosophy, theory of literature, russian literature, existentialism, religion

Abstract: The object of this study is the analysis of the genre of the novel "The Heart of a Young Man" by the Thai king Rama VI Vachiravudh (1881-1925) – the monarch who stood at the origins of the formation of modern national literature of Siam / Thailand. The subject of the evaluation was the compositional and stylistic features of the work of the king-composer. Vachiravudh's innovation in the field of genre allowed not only to truthfully depict the personal experiences of the protagonist of the work, but at the same time to pose an important problem – man and society in an era of global change. Biographical, historical and comparative methods were used for a detailed analysis of the novel's genre originality. This is the first original Thai-language epic work of the monarch, which is of unconditional interest and artistic value. Previously, the novel was not translated into Western languages and did not become the subject of a separate study by both national Thai literary critics and foreign ones. In "The Heart of a Young Man", Vachiravud proved himself as a talented artist-innovator, creating an original genre synthesis: a sentimental novel in letters with elements of a realistic psychological novel. The form of the Western European sentimental novel in the letters of the XVIII century. Vachiravudh uses the connection of the social into the personal in the fate of an individual to express topical issues. Based on the material of "The Heart of a young Man", the plot and compositional organization of the epistolary novel, the originality of the typological features of the genre (Preface, indication of the place and date of writing, address to the addressee, signature, etc.), its chronotope and the relationship between the hero - narrator – author, as well as the features of the image of the inner world of the protagonist and his spiritual evolution are investigated. It is shown that, having inherited the tradition of European literature of the XVIII – XIX centuries, Vachiravud anticipated in his novel one of the dominant lines of development of Thai literature of the twentieth century.

Keywords: European literature, a novel in letters, Thailand, thai literature, realism, sentimentalism, epistolary novel, genre, the era of change, Vachiravudh

Abstract: This article is devoted to the analysis of the binary opposition "justice – injustice" on the material of Russian and Chinese paroemias in the linguoculturological aspect. Russian Russian linguistic and cultural analysis was carried out against the background of the Chinese language in order to identify the national and cultural specifics of the selected paremiological units in the Russian language and Chinese worldview. The object of the study is Russian paroemias that verbalize the opposition "justice – injustice". The subject of the study is the linguistic and cultural specificity of the analyzed Russian proverbs and sayings against the background of the Chinese language. Russian Russian dictionaries of proverbs and sayings, phraseological dictionaries of the Chinese language, illustrative material presented on the website of the National Corpus of the Russian Language serve as the material of the study (www.ruscorpora.ru ) and other Internet resources. The description of the oppositional attitude is appropriate when studying paremia, since the expression of moral values through the opposite attitude is of particular interest when studying the linguistic picture of the world. The work carried out a semantic analysis of key lexemes, highlighted different situations in which there is or is not a sign of justice, and also made some specific observations and conclusions about the functioning of these paroemias in literary and journalistic texts. The developed materials can be used in reading special courses on phraseology and intercultural communication, as well as in the practice of teaching Russian as a foreign language.

Keywords: proverb, functioning, linguistic and cultural analysis, semantic analysis, injustice, justice, paremia, opposition, sayings, paremiological unit

Abstract: The article examines the traditional means of artistic expression in Spanish folklore texts. The subject of the study is hyperbole, antithesis, comparison, constant epithet, which play a special role in the language of Spanish folklore. The distinctive features of the artistic system of folklore are the use of tropes at all levels of narration, the dependence of the stylistic design of the text on genre specifics, the predominance of a special polyexpressive, harmonic style in most folklore works. In addition, each genre of folklore has a functional and emotional characteristic, a special intonation, the creation of which is aimed at using the means of artistic expression. The types of tropes analyzed in the article are traditional and typical of Spanish folklore texts and illustrate the specifics of folklore allegory and artistic expressiveness. The conclusions of the study are based on the analysis of the artistic system and linguistic features of small and large genre forms of Spanish folklore. The minor intonation of a Spanish lullaby (canciones de cuna, monerías nanas), filled with repetitions, comparisons and personifications, differs from the major character of game and dance-song folklore (juegos, cancioncillas, ruedas, bailes), where the use of dialogical form, shouts and imperative mood, special rhyme and accents. The imagery of Spanish proverbs and sayings (proverbios, refranes) is expressed in the use of various artistic techniques with a general sententious character – metaphors, metonymy and synecdoche, syntactic parallelism, rhyme, alliteration. For Spanish riddles (enigmas, adivinanzas), comparison, metaphor, hyperbole, antithesis, onomatopoeia are common. In counting and drawing lots (comienzos de juego), rhyme and rhythm, the use of interjections and exclamations come to the fore. In larger forms of Spanish folklore, such as a fairy tale, there is a constant epithet, hyperbole, repetition, fairy tripling. Spanish folklore tends to use hyperbole and antithesis as the most frequent stylistic figures, as well as the main plot-forming and compositional techniques.

Keywords: repetition, antithesis, figure of speech, genres of folklore, hyperbole, spanish folklore, means of artistic expression, Spanish, comparison, metaphor

Abstract: Currently, the study of the language of folklore is one of the main tasks of linguoculturology, and the lexico-semantic study of the language of fairy tales is one of the most important objects of research. The article is devoted to the linguistic and cultural analysis of the "magic objects", which is an integral part of the "miracle" in Russian and Chinese fairy tales. The magical objects characteristic of Russian and Chinese fairy tales are considered, lexico-semantic, etymological and culturological analysis of the names of these objects is carried out. The object of the research is the concept of magic objects in the linguistic picture of the world, reflected in a fairy tale. The subject of the study is the comparison of the names of magical objects in Russian and Chinese fairy tales; the comparison of their cultural meanings and connotations. As a result of the analysis, it was found that the main means of designating magical objects in Russian and Chinese fairy tales are combinations of a noun with an adjective. However, in Russian fairy tales, the semantic dominant is an adjective: an adjective denotes a function, indicates a characteristic feature of the subject. In Chinese fairy tales, the emphasis is placed on the very name of the subject. If in Russian fairy tales magic objects are repeated from fairy tale to fairy tale, then in Chinese fairy tales magic objects are always different. The appearance of certain magical objects in both Russian and Chinese fairy tales is associated with the primitive beliefs of ancient people, with fetishism. The scientific novelty of the research lies in the linguistic analysis of the names of magical objects as a representation of the "miracle" concept sphere in Russian and Chinese fairy tales. Russian and Chinese languages study and comparison of magic objects, as well as methods of their nomination, allows to identify similarities and differences in national ideas about the concept of "magic objects" in Russian and Chinese linguistic cultures. The results of the analysis can be used to study the folklore and linguistic pictures of the world of the two nations.

Keywords: living water, russian fairy tale, magic items, chinese fairy tale, miracle, concept, conceptual sphere, folklore picture of the world, the picture of the world, dead water

Abstract: The subject of this article is the artistic features of the system of images and the image of the poet in the poems of M. Akhmedov. The system of images in the poems of M. Akhmedov is an integral mechanism that reveals the results of the poet's tireless artistic search, interprets many answers to the questions of the person and the poet. Modeling the poet's image in the system of images is not a new phenomenon in Avar poetry, nevertheless, it is an attempt by the poet to draw the reader's attention to universal problems again, to reveal the poet's vocation and the significance of his image in a new way, both in the system of images of the poetic text and in the consciousness of the poet himself, man and society. The object of the study is the image of the poet and the system of images in the poems of M. Akhmedov. The purpose of the work is to identify characteristic artistic techniques in creating the image of the poet, which occupies a significant place in the system of images of M. Akhmedov's poems, in understanding the essence of the artistic image, its dynamics and connections with the integral figurative system of the poet's poems. The scientific novelty of the research is due to the fact that the artistic analysis of the system of images and the image of the poet in the poems of M. Akhmedov in this aspect was undertaken for the first time. The obtained results showed that the artistic structure of the poet's image and the figurative system in the poems of M. Akhmedov allows to reconstruct, expand the poetic concept of the world order, to allocate a well-deserved place in it to the poet-man. The study of details related to the author's artistic intention showed the deep ideological content of M. Akhmedov's poems, as well as important features of the author's worldview. The theme of the poet and poetry, which is revealed through the image of the poet and the figurative system of M. Akhmedov's poems, evolves in the ways of cognition of life and the image of man and society.

Keywords: canonical structure, the literary process, evolution of the genre, poetic form, poetic concept, composition of the poem, avar poetry, image system, artistic image, artistic idea

Abstract: In this paper, an attempt is made to differentiate pedagogical, didactic, methodological and linguodidactic discourses in the field of teaching foreign languages in order to highlight the special position of linguodidactic discourse. A review of research shows that in the field of teaching foreign languages, related types of discourses are used without a clear definition of the grounds for their differentiation. To define the boundaries between discourses, the paper uses an approach based on the definition of speech genres by M. M. Bakhin and genres of discourse by V. I. Tyupa. Thus, the main parameters for the differentiation of discourses are the positions of subjects and strategies of their interaction. The analysis of studies addressing pedagogical, didactic, methodological and linguodidactic discourses, based on these parameters, allows us to distinguish between related types of discourses in the field of teaching foreign languages. In comparison with them, the specificity of linguodidactic discourse allows us to take into account, on the one hand, the fact that in it language functions simultaneously as a material and as a means of teaching. On the other hand, it covers the widest, in comparison with other discourses, the field of options for communicative strategies of interaction between subjects — the teacher and the student. As a result, in addition to the one-sided strategy of teacher-student interaction for pedagogical, methodological and didactic discourses, linguodidactic discourse makes it possible to include interaction strategies reflecting the new active role of the student as an equal subject of discourse, as well as those strategies that previously belonged to different types of related discourses.

Keywords: communication strategy, subject, genre of discourse, boundaries of discourse, types of discourse, methodical discourse, didactic discourse, pedagogical discourse, linguodidactic discourse, teaching foreign languages