The given article dwells on the term “concept” as a fundamental category of cognitive semasiology. The study explores the theoretical foundations of cognitive approach to meaning, tracing the emergence and development of the term “concept” from mathematical logic to its current status in cognitive linguistics. Special attention is paid to the distinction between linguistic meaning and mental concept, as well as to the semantic processes underlying terminological polysemy in various professional domains. The article demonstrates that concept, as a unit of mental resources, possesses broader content than linguistic meaning and serves as the primary means of representing cognitive processes in language.

Levon Khechoyan’s novel Black Book, Weighty Bug (1999), awarded the State Literary Prize of the Republic of Armenia “Golden Reed,” stands as one of the most significant works of late 20th-century Armenian war prose. Drawing from his own experience as a participant in the First Karabakh War, the author rejects traditional heroic narratives and romanticization of conflict, portraying war instead as a universal ontological catastrophe that dismantles human identity, moral foundations, perceptions of time and space, notions of good and evil, and interpersonal bonds. The narrative is structured as diary entries by the writer-artist Onan Karayan, blending documentary authenticity with profound philosophical reflection. The central symbol of the “weighty bug” – a harbinger of death and soul-loss – permeates the text, underscoring the inevitability of psychological trauma and the Nietzschean “eternal return” to destruction (with parallels to Nietzsche, Dante, Camus, and Sartre). Khechoyan raises questions of universal human tragedy: the absence of true victors in any war, mutual soul-destruction, the silence of God, and fear as an ontological constant of existence. A comparative analysis with Viktor Astafiev’s Cursed and Killed and Erich Maria Remarque’s All Quiet on the Western Front reveals similarities in reliance on personal frontline experience, yet highlights Khechoyan’s distinctive shift from historical-social to metaphysical interpretation of war as the absolute defeat of humanity. The study demonstrates that the novel revitalizes living traumatic memory, urging recognition of war as a crime against reason, culture, and existence itself, where salvation lies solely in dialogue, responsibility, and the renunciation of hatred.

The article analysis the concept ‘cinematographic’ in literary text. The ways of transforming a verbal image into a visual one preserving the vision of reality charac­teristic of a literary work are studied. A comparison of V.P. Nekrasov’s story “In the Trenches of Stalingrad” and its film adaptation (the 1956 film “Soldiers”) allows to trace the process of transforming a verbal image into a visual one.

The given article dwells on the word-formation processes involving somatic vocabulary (words denoting body parts) in the poetic works of the renowned 14th-century Tajik-Persian poet Kamol Khujandi. The study identifies and analyzes the morphological, syntactic-morphological, and lexical-semantic methods employed by the poet to create derivative and compound words from somatisms such as dil (heart), dast (hand), chashm (eye), jon (soul), and others. The research reveals that somatisms function as highly productive bases for word formation in Khujandi’s poetry, with the word dil appearing 278 times in derivative and compound structures. The poet utilizes prefixes (particularly be-), suffixes (-a, -ī, -goh), and combinatorial methods to create new lexical units that often acquire metaphorical meanings beyond their physiological references. These word-formation patterns reflect both the linguistic norms of Classical Persian-Tajik and the poet’s individual stylistic innovations. The findings contribute to the understanding of historical word-formation processes in Tajik and Persian linguistics and highlight the role of somatic vocabulary in poetic expression.

The given article dwells on the morphological peculiarities of the prefixoid ‘khush-’ in 18th-century Tajik literary language, based on the historical work “Tukhfat-ul-khoni” by Muhammadvafoi Karminagi. The study identifies ‘khush-’ as a semi-affixal element that occupies an intermediate position between a root morpheme and a prefix, actively participating in the formation of compound adjectives. Through a contextual analysis of linguistic examples extracted from the source text, the research delineates the semantic nuances, syntactic functions, and productivity of ‘khush-’. The findings reveal that while ‘khush-’ retains its original lexical meaning of “pleasant” or “good,” it serves as a highly productive derivational component. A comparative analysis demonstrates that its functional range is narrower than that of the prefixoid ‘pur-’ but exhibits distinct stylistic and semantic specialization. The article concludes that the study of such transitional morphemes in historical texts is essential for understanding the evolution of word-formation systems in the Tajik language.

The given article dwells on the issues beset with the morphological features and the level of usage of the suffix -тарин/-tarin in the expression of the superlative degree of the Tajik adjective. The empirical basis for this research is Sadriddin Aini’s canonical novel “Ghulomon” (2019), a text that represents the benchmark of the modern Tajik literary language. The findings reveal that the suffix -тарин/-tarin demonstrates considerable productivity in Aini’s language, exhibiting specific patterns of formation and usage that reflect both traditional Persian morphological norms and the dynamic tendencies of the evolving Tajik literary language of the 20th century. The study highlights that the suffix -тарин/-tarin in the analyzed corpus fulfills not only its primary function of expressing the superlative degree but also develops additional semantic nuances, particularly in its substantivized forms. The research contributes to the understanding of the historical development of Tajik adjectival morphology and provides empirical data for comparative studies across different periods of the Tajik literary language.

The article is devoted to the scientific style teaching of foreign students using the material of scientific and educational texts with a mathematical focus. The role of a text as a fundamental component of educational material is expanded. A step-by-step process for developing reading skills is described – from working with general scientific texts at the initial stage of training to moving on to specialized texts at an advanced level.

The given article uses the concepts of linguistic and stylistic context. This distinction is not new: in the theory of context, it is preceded by a distinction between reproductive context, which embodies meaning as a fact of language and the linguistic system, and generative context, which leads into the realm of individual verbal creativity, which is relatively dependent on the linguistic system.

The article provides a thematic and stylistic analysis of two of Paustovsky’s short stories, which helps the reader, especially those studying Russian as a foreign language, to focus on stylistically marked linguistic units. The article uses literary texts to demonstrate the potential for expanding the cultural competence of foreign students and introducing them to Russian history and culture.

The article examines Polish documentary and memoir prose about the World War II as an emotional document of the era, based on the book “The Pianist: The Extraordinary Story of One Man’s Survival in Warsaw” by Władysław Szpilman. It considers the history of the creation and publication of the memoirs of the famous musician, who miraculously escaped death in the ghetto and hid in the ruins of the city. The analysis focuses on how Szpilman’s fate reveals the themes of fortitude, loneliness, moral choice, and the preservation of humanity under inhumane conditions. The article demonstrates how and why this text remains not only a historical testimony of the Holocaust but also a profound emotional document addressing contemporary culture.

The article studies the heroes of O.K. Gromova’s novel “Valchen”, whom the Great Patriotic War puts through numerous trials as in M.A. Sholokhov’s “The Fate of a Man”. It shows how an inevitable, blind fate in the face of a global tragedy without any effort turns any person into a submissive chess piece.

The problem of studying folklore as a fundamental basis of every national culture and human civilization as a whole by foreign students from various countries of the world is an integral methodological aspect of the “Russian Folklore” course throughout the history of its teaching. The course was systematically developed by the Folklore department of the Philological Faculty of Lomonosov Moscow State University and has undergone multiple structural transformations in line with the development of folklore studies as an academic discipline, as well as in response to changes in the national and global sociocultural context.