In this article, using the example of Russian-language works by writers from Azerbaijan and Germany, the importance of literary context for creating a “dialogue of cultures” – an obligatory feature of foreign-language literature – is revealed. It plays a plot-forming role, expands the possibilities for creating artistic images. Comparisons with famous works and characters help modern literature to create specific images and influences an author’s position, expressed in parody, the choice of epigraphs, and a reference to significant hypertexts.

The given article dwells on the comparative analysis of semantico-functional peculiarities of some simple Tajik particles and their English equivalents. It is noted that particles are often mentioned the margin of linguistic analysis representing a crucial component in term of structure. The findings highlight significant challenges for literary translation, as accurately conveying the full expressive meaning and pragmatic force of interjections requires deep contextual and cultural understanding. This often necessitates flexible strategies beyond simple lexical substitution, including using diverse English equivalents and potentially employing compensation techniques elsewhere in the text.

The given article presents a comprehensive comparative analysis of the morphological properties, syntactic behaviors, and semantic functions of the Tajik pre­position ‘baroi’ and its English equivalents. Using Sadriddin Aini’s “Ghulomon” (2019) as a primary corpus, the author of the article extracted and analyzed 347 instances of ‘baroi’ through contrastive linguistics methodology. The adduced results demonstrate that ‘baroi’ exhibits significant polyfunctionality covering benefactive, purposive, dative, and causal relations, whereas English employs a diverse set of equivalents including the preposition ‘for’, phrasal constructions (‘in order to’), and syntactic recasting. Statistical analysis reveals ‘for’ serves as the direct equivalent in only 72 % of cases, with contextual and grammatical factors necessitating alternative strategies in 28 % of instances. The morphological simplicity of ‘baroi’ contrasts sharply with English’s analytic strategies, reflecting typological differences between Indo-Iranian syntheticity and Germanic analyticity. Findings illuminate challenges in Tajik-English translation, pedagogical applications, and theoretical models of prepositional semantics.

Stylistic analysis of a fiction involves the study of the meaning and expressiveness of linguistic means, their role in solving a specific stylistic task, in the identifying author’s ideological and aesthetic attitudes, which determines his choice of linguistic means. The article deals with the identifying and describing the distinctive features of the functioning of phraseological units in Bertolt Brecht’s novel “Der Augsburger Kreidekreis”. The idioms used by the author emphasize the uniqueness of his style and his ability to accurately convey historical and social content.

This article examines valency meanings as the main feature of verbs and its implementation in the comparative analysis of verbal participial phrases of English and Tajik languages. In the participles of the compared languages, verbal, adjectival and adverbial features are observed. These features of the participle are manifested in its morphological features, syntactic functions, valency characteristics and combinability properties. Participles of both languages have valency characteristics. They can be avalent, divalent or trivalent, depending on the lexical and grammatical nature of the verbs from which they are formed. Participles in English and Tajik are combined with nouns, pronouns and verbs. On the one hand, they can serve as the nuclear of a verbal phrase, and on the other hand, they can be used as its adjunct. They are connected with the specified parts of speech by the syntactic connection of adjoinment and government (in both languages), as well as by the isafet “-i” (in Tajik language).

The given article dwells on the comparative analysis of speech etiquette and politeness theories in Tajik and English. Using qualitative content analysis, the author of the article examined dialogues from Sadriddin Aini’s seminal Tajik novel “Ghulomon” (2019) alongside English conversational corpora. The adduced results reveal that Tajik politeness is deeply rooted in hierarchical social structures and Islamic norms, emphasizing deference (ehtirom) and ritualized humility (ta’arof), while English prioritizes individualism, negative face, and pragmatic indirectness. The study contributes to cross-cultural pragmatics by challenging universalist assumptions and highlighting sociocultural constraints in politeness realizations.

The given article dwells on the role of plein air painting (outdoor sket­ching) in the professional development of future visual arts educators. While traditionally focused on mastering techniques for landscape depiction, the research argues that an exclusive emphasis on accurate reproduction neglects the crucial aspect of fostering an ethical relationship with nature. The article posits plein air practice as a key tool for developing empathy towards nature, deep sensory perception of landscape nuances, and aesthetic appreciation. Key findings highlight that successful plein air work requires genuine inspiration and emotional resonance with the landscape, moving beyond mere copying to capture the “spirit of place” through selective emphasis and generalization. The study concludes that plein air practice significantly enhances an art teacher’s technical proficiency, observational acuity, and ability to inspire students, while crucially fostering the ethical-aesthetic perception necessary for meaningful art education and environmental stewardship.

The article examines the range of texts by A.K. Tolstoy that are more or less related to his dramatic poem “Don Juan”, as well as the range of texts by A.S. Pushkin that are in turn related to his “The Stone Guest”. This examination of the apparent parallel between “Don Juan” and “The Stone Guest” allows us to move on to specific fragments of Tolstoy’s poem at the next stage, identifying less obvious references to Pushkin’s works.

This article offers a perspective on the phenomenon of medieval mental pilgrimage, the issues of which are expressed through the image of a trace. To illustrate the image and the paradox of the physical / spiritual, the “Revelaciones” (“Revelations,” 14th century) by St. Birgitta, a Swedish visionary and pilgrim, and “Evagatorium in Terrae Sanctae, Arabiae et Egypti peregrinationem” (“Pilgrimage to the Holy Land, Arabia, and Egypt,” 1480 and 1483–1484) by Felix Fabri, a Dominican monk, historian and preacher of the Ulm convent, are examined. Within both works, the image of a trace belongs simultaneously to the physical and mental dimensions of pilgrimage: these are, on the one hand, the “holy and joyful” traces guided by Felix Fabri in the rules for pilgrims, an on the other hand, the trace left by Christ before the crucifixion and later perceived as a miracle by the Dominican monk, as well as the material from which the pilgrim’s paths in the visions of St. Birgitta should be composed. Pilgrims, traveling to holy sites, or ‘loca sancta’, not only seek to deepen their own knowledge about them but also, by leaving their own traces, aim to gather the previously scattered traces of other righteous individuals. The image of a trace allows for a functionally important parallel between the roles of a visionary and a pilgrim. The conclusion of this article affirms the existence of a centuries-old cycle in the development of locorum sanctorum, their fundamentally open nature to change by the pilgrim, considering the phenomenon of the influence of bodily pilgrimage on mental pilgrimage, and the interference where the second perspective responds to loca sancta. This demonstrates the importance at a structural level of the image of the trace, as if melting the place of pilgrimage – a point rightly appreciated by Felix Fabri. The realization of this image turns out to be evidence of the mediatorial nature of the pilgrim: retrospective reference to the “Revelaciones” of St. Birgitta after familiarization with Felix Fabri’s narrative of “Evagatorium” reveals common patterns across different pilgrimage narratives.

The article explores cultural transfer by examining how Ruvim Fraerman, a once-prominent Soviet children’s writer, adapts and reshapes traditional Chinese images, motifs, and personal names in his fairy tales – namely, “The Desired Flower”, “Two Fishermen”, “Dzi Tou and His Brothers”, “The Boy Badmarak”, and “The Spruce and the Oak” from his 1953 collection “The Desired Flower”. Fraerman incorporates plots from Chinese folk tales, ensuring that the symbolism of these exotic elements remains accessible and comprehensible to his Russian-speaking Soviet readership. The fairy-tale world created by Fraerman appears exotic and unfamiliar in its landscapes, names, and colours; nevertheless, its ethical perspectives and logic of human behaviour remain reco­gnisably close to readers. The author skillfully transforms details and symbols charac­teristic of Chinese culture, while preserving the underlying logic of Chinese narratives, often rooted in aphorisms and the visual forms and writing methods of Chinese charac­ters – including their graphic structure and principles of calligraphy. Fraerman’s reinterpretation primarily centers on the ideological adaptation of Chinese plots and the transformation of certain motifs and images prevalent in them.

The 15^th century witnessed the proliferation of vernacular religious translations in Italy. The Soliloquies attributed to John of Fécamp (11th c.), examined in the manuscripts from Siena (I.II.25) and Naples (Ms. VI D 45), exemplify this trend. These texts, marked by their heightened emotionality compared to Augustine’s 4th-century Soliloquies, foreshadowed subsequent developments. This research investigates the performative aspects of speech acts within these manuscripts, focusing on the expression of repentance and supplication. While an act of acknowledgment is not inherently performative, its function alters within the religious context of prayer. The illocutionary force of confession, directed towards the divine, imbues the act of acknowledgment with performative characteristics. At the perlocutionary level, the acknowledgment functions as a performative utterance, aiming to elicit divine forgiveness, foster internal purification, and facilitate spiritual restoration. Consequently, the act of acknowledgment transcends a mere factual statement, morphing into an act of repentance, thereby instigating an internal transformation within the speaker.

The article analyzes the experience of a study trip for Slavic students to Grodno (Republic of Belarus) as part of an international cooperation between Lomonosov Moscow State University and Yanka Kupala State University of Grodno. The article highlights the potential of the cultural and historical heritage of Grodno and the Grodno region as a source for interdisciplinary research in the field of the history of Slavic cultures and interlingual interaction. The article examines the features of the interaction between Slavic cultures (primarily Polish and Belarusian) on the example of the biographies and literary works of Eliza Ozheshko, Adam Mickiewicz, and other cultural figures of the 19th and 20th cs. The presented materials on the cultural context of literary creativity of representatives of Polish and Belarusian cultures are based on information gathered during excursions and visits to museum exhibitions and acquaintance with historical monuments, which allows us to identify new aspects of the interaction of Slavic cultures. The article discusses some works that are not well-known to the Russian audience (such as “People and Flowers” by E. Orzeszko), and also contains a translation of Belarusian-language works by V. Korotkevich and R. Borodulin dedicated to A. Mickiewicz, which have not been previously translated into Russian. The article emphasizes the capability of using the presented materials in the educational process when training Slavists, as well as in the development of interuniversity cooperation. The article demonstrates the effectiveness of a complex approach to the study of Slavic cultures, the importance of museum collections as a source of scientific knowledge, and the potential of the Grodno region for further Slavic studies.