Abstract: The subject of the study is the onomastic code as a tool for playing with the reader based on the corpus of works by the modern Russian writer B. Akunin and his "author's masks" (Anatoly Brusnikin and Anna Borisova). The object of the research is the use of distortion and change of proper names as a principle of the organization of cycles and supercycles, as well as the vector of the formation of the literary reputation of the author. The authors consider in detail such aspects of the topic as deformation and voluntary change of name / surname, characteristic of the central and secondary characters of the studied corpus of texts. Special attention is paid to the motive of playing with the reader using onomastics as a tool for creating the literary reputation of the author.   The main conclusions of the study are: highlighting the principle of onomastic play as end-to-end for the entire work of the modern writer B. Akunin, as well as substantiating the implicit meanings of using this principle in the framework text of works. A special contribution of the authors to the study of the topic is the formulation of the directions of diversification of the motif of the onomastic game and the description of the "opening of the text" and reaching another level of the game with the reader. The novelty of the research lies in the comparison through the prism of cyclical bonds of several literary universes of the same author, which were previously considered as independent projects and were not considered in a single coordinate system.

Keywords: proper names, intertext, cycle, cycle forming, macrocycle, play with reader, literary reputation, onomastics, pseudonym, motive

Abstract: The subject of the study is explicit and hidden references to the work of John Keats in the works of Anna Akhmatova "Poem without a hero" and the cycle of poems "From a burnt notebook". The object of the study is the principle of "mirror writing" implemented through references to Keats, which allows using embedded references to various works of world culture located one inside the other. The author examines in detail such aspects of the topic as the use of quotations in the text and in the frame of the text, the roll call of citations among themselves and with other works. Special attention is paid to the motive of meeting with a dead lover formed with the help of allusions, which is present both in Keats' poems and in the "Poem without a Hero", and due to the principle of "mirror writing" is formed in the implicature of the cycle "From a burnt notebook".   The main conclusions of the study are the detailed references to the form and content of John Keats' poems in the works of Anna Akhmatova. A special contribution of the author to the study of the topic is the connection established for the first time between the image of "embalming" mentioned in the Poem without a Hero and in Keats' poem "A Pot of Basil", the epigraph from which is used in the cycle "From a burnt notebook". The novelty of the research lies in clarifying the principle of "mirror writing", the quote "echo", implying the reflection of one quote in another and building a kind of chain of references in the work: Keats refers to Boccaccio, Boccaccio to Virgil, etc.

Keywords: intertext dialogue, akmeism, epigraph, Keats, Akhmatova, mirror writing, allusion, frame text, quotation, intertext

Abstract: This article contains a conceptual description of the problematics of "foreign word" in the general literary methodology of analysis by Mikhail Mikhailovich Bakhtin (1895–1975), and a description of its individual theoretical aspects. The subject of the study is Bakhtin's concept of "foreign word". The author examines in detail such aspects of the topic as "alien speech", "alien consciousness" in the context of the ideas of M.M. Bakhtin, as well as his student and colleague in the "Nevelsk-Vitebsk seminar" - Valentin Nikolaevich Voloshinov (1895-1936). Particular attention is paid to the analysis of the centon genre, which in the history of verbal culture has become a source of creative discoveries and innovative techniques for various authors. The analyzed aspects of Bakhtin's theory allow us to draw an important conclusion about the distinctive features of the organization of a literary text in modernist and postmodernist literature. The organization of the artistic text in modern postmodern literature occurs in accordance with the principles of centonicity and quotation, i.e. cultural mediation of most artistic artifacts. The main difference between postmodern works and most reminiscent works of modernism is that allusions and reminiscences cease to perform the function of references to universally valid concepts, but work in the centonal mode (dramatically rethinking the original context - up to its leveling, "dissolution", "spraying" ) organization of a literary text.

Keywords: reminiscence, context, allusion, citation principle, postmodern literature, Bakhtin' theory, modernist literature, author's problem, centon, Alien word

Abstract: The subject of the study is a conceptual metaphor in the English-language media text. The current vocabulary associated with coronavirus infection is taken as an analysis. The cognitive paradigm of language research is based on the general methodological principle of cognitive linguistics: to draw conclusions about the structures of consciousness from the facts of language. The article examines certain images in relation to the description of COVID-19 in the modern English-language media text. Special attention is paid to the selection of ontological, orientation and structural metaphors, where the target sphere is SARS COV-2. Metaphorical expressions are analyzed, which are recognized as an important tool for the study of the conceptual sphere of a person. The main conclusions of the study are the fact that the COVID in the English text is considered as an ENTITY, an ANIMAL and the SEA. Highlighting the conceptual metaphors COVID-19 IS A SUBSTANCE, COVID-19 IS AN ANIMAL, COVID-19 IS A SEA, we came to the conclusion that the British consider coronavirus infection as something tangible, dangerous and endless.Different metaphors highlight different sides of the same phenomenon, and the speaker/writer always chooses between them, guided by current communicative goals. Each metaphor inevitably emphasizes, or highlights, some aspects of a particular concept, and obscures others.

Keywords: conceptual metaphor, English media text, sphere-target COVID, ontological metaphor, orientational metaphor, structural metaphor, The Economist magazine, sphere-source, covid as a substance, covid as an animal

Abstract: Prepositions in all languages represent a limitless field for research and comparisons. The function of prepositions is to express various relations of objective reality. The subject of the research of the presented article is a detailed description of the functioning of the component "beginning" in phraseological prepositions in Russian and the component "le début" in phraseological prepositions in French. Prepositions have been the subject of study by many linguists T.I. Antonova, N.I. Astafieva, O.S. Akhmanova, A.M. Babkin, M.V. Binkovskaya, R.V. Boldyrev, V.S. Bondarenko, N.I. Bukatevich, M.S. Bunina, M.V. Vsevolodova, L.N. Zasorina, G.A. Zolotova, E.G. Kulinich, Yu.I. Ledeneva, T.A. Panteleeva, R.P. Rogozhnikova, E.T. Cherkasova, G.A. Shiganova and others. The study is conducted in a comparative manner. The novelty of the research undertaken lies in the fact that phraseological prepositions with the component "beginning" in Russian and the component "le début" in French represent the beginning of an action or phenomenon, limitation, following and preceding in time. Empirical material shows that the productivity of the formation of phraseological prepositions with the meaning of temporality is quite high both in Russian and in French. Having analyzed the internal organization of phraseological prepositions with the studied component, we come to the conclusion that the Russian language has a greater variety of structural organization schemes than in French, with all its analyticity.

Keywords: precedence, following, french language, russian language, temporal preposition, phraseological preposition, preposition, beginning, component, limited