Philology, pedagogy, and psychology

The issue of interrelation between vocal music and native language intonation has constantly been arousing academic interest among intonation researchers. As a form of language existence, vocal music reveals specific tonal features that imply communicative and emotive meanings perceived via the human auditory faculty. A vocal-music utterance is intonationally correlated with samples of oral speech, this fact proving intonological essence of the considered phenomenon, whose systemic studies have only recently started. This paper describes an attempt to obtain factual data on the character of intonational correlation of national vocal music to the native language. The experiment was based on psycholinguistic approach and was performed by means of perceptive analysis. The author presents the concept of intonational percept of the Russian folk song by the native speakers. The concept has been tested in a number of tests on traditional folk songs perception. The findings of the psycholinguistic experiment prove the existence of a common invariant of the intonational percept of vocal folklore with all the representatives of a language community. This enables them to recognize a vocal tune as belonging to their native language intonationally, differentiate it from foreign tunes, and identify its emotive meanings.

Phraseological units are perhaps one of the most visible manifestations of language manipulation. Although phraseology has always been regarded as a powerful source of influencing people’s minds, relatively little is known about the way one perceives and interprets a phraseological unit which has accumulated a great deal of knowledge and experience of many generations since it was first implemented. This paper attempts to classify the types of this information compression bringing the American election discourse to the center of attention. Firstly, we identify phraseological units among various manipulative means, including those that were subject to any kind of transformation and, therefore, are difficult to detect. Secondly, we seek to categorize these phraseological units according to the “impression” they make on the addressee. Thus, the final stage of the analysis is to estimate which type of information compression via phraseological units is the most popular while manipulating. The findings reveal the enormous potential of phraseological units as a means of information compression to modify the behavior, views, and attitude to things as well as give an idea of something by making the addressee visualize it. The results show the latter’s significance in the information perception by the addressee.

The article presents the results of counting and arranging parts of speech in Boris Ryzhy’s poems. The science article aims to identify and present an objective “part-of-speech picture” (as applied to nouns, adjectives and verbs) of Boris Ryzhy’s poetic idiolect. Within the framework of this research work was chosen the multifaceted approach that combines quantitative, interpretive and comparison and collation types of analysis. It is worth pointing out that the methodology of standardized data processing procedures was applied, as well as the comparative analysis of statistical results. Academic novelty involves the percentage of the main parts of speech in Boris Ryzhy’s poetical works and poems of other poets of the 19th and 20th centuries in the comparative aspect. The analysis results show that counting the main parts of speech is an effective method of studying poetic language. Statistical information can be used as illustrative and representative material in the study of the poetics and stylistics of lyrical texts.

The current stage of philology development is characterized by a complex approach to the study of interdisciplinary categories, among which the image category should be attributed. In contemporary research on psycholinguistics, semiotics, discursology, semantics, stylistics, linguoculturology, etc., various aspects of the image of linguistic and artistic are considered. At the same time, the image of a woman appears not only as a significant image of the Russian conceptual sphere, but also as an essential component of M. A. Sholokhov’s artistic picture of the world, reflected in the novel “And Quiet Flows the Don”. The purpose of the article is to analyze the ways of representing one of the structural components of the image of a woman, in particular the ethno-cultural component, in the discursive space of the novel. The main research methods are descriptive, contextual and discursive analysis, lexicographic, ethnographic, component analysis method, etc. The article shows that the ethno-cultural component of a woman’s image structure is based on the dialect picture of the world of the Don Cossacks and is represented within a separate verbal sign or by describing the appearance or behavior of a woman in a particular context. In addition, the ethno-cultural component is reflected in the representation of the linguistic personality of the  novel’s female characters, reflecting the originality of the Don dialects at the phonetic, lexical, grammatical levels. Based on the analysis of various ways of representing the image of a woman in M. A. Sholokhov’s novel “And Quiet Flows the Don”, it was found that the ethnocultural component of the structure of the image of a woman conveys the typical and stereotyped features of the Don Cossack.

The article considers the results of the memory motive study in the novel of M. Maron, a modern German writer. The syncretic nature of memory is analyzed in terms of memory and forgetting as necessary components of this phenomenon. For this study, the process of purposeful ousting certain fragments connected to the late love story with a tragic finale, from the storyteller’s past, has been analysed. The selective nature of the nameless character’s retrospective activity is based on the desire to level out her commitment to the death of her beloved who betrayed her. The author concludes that the role of the forgetting leitmotiv in the text of the novel is forming.

The article examines the scope and significance of semantic transformations of the secondary text — the fairy tale Der Ritter Blaubart” by Alfred Döblin. The article reveals that the transformation of the tale, which emerged in the stream of post-modernism, is a complex formation which reveals both the features of a passed epoch — the grammatical phenomena with historical coloring, and the features of modern realities, expressed by stylistic anachronisms. The paper identifies semantic transformations of the original fairy tale, suggesting that the author deliberately refracts the original text through a certain gender and ethnic “prism”. As a result, the primary vector in the space “villain — victim” is shifted: a villain is transformed into a hero, and an innocent victim is taken to heaven. The study reveals the role of landscape descriptions in the secondary text, the forces of nature are mythologized in the secondary text, they become the full participants in the action, which gives the secondary text an exceptional fairy-tale intonation, bringing the secondary text to the folktales.

The article examines the artistic realisation of the northern landscape and the system of images of the polar space’ nature in the novel by the French polar writer P.-E. Victor. The relevance of the research is supported not only by the relatively little-studied heritage of P.- E. Victor in Russia but also by the poor knowledge of the key aspects of his poetics. The logic of the formation of the visual complex is traced, which combines the realistic approach to the weather phenomena of the Arctic and their literary psychologization. A close connection is revealed between the images of snow, blizzard, frost, wind and the reflection of the worldview of travelers exhausted by difficult living conditions. Analytical observations of the text of the novel also give grounds to assert that the artistic embodiment of meteorological phenomena occupies a strong textual position in it and reflects the specifics of the narrative style of the genre of diary entries.

The article is devoted to analyzing ideas about prayer reflected in Leo Tolstoy’s diaries. The research has been carried out using methods of continuous sampling of diary notes dedicated to prayer, conceptual analysis aimed at highlighting its cognitive features, as well as private techniques for analyzing the semantics of a keyword. The study has revealed that records of prayer are found throughout the years of keeping a diary. Tolstoy understands prayer as a dialogue with God, as self-understanding. The article analyzes the features of the conceptualization of prayer, objectified by the compatibility of the keyword, and reconstructs the primary image of “Person”: figuratively, prayer is attributed to procedural features inherent in a person. They are characterized by positive connotative evaluation. It is proved that the categorization of prayer using an anthropomorphic cultural code is a consequence of implementing a communicative cognitive strategy. Tolstoy names the following functions of prayer: it helps to achieve harmony, avoid complex emotional states, makes a person strong, spiritually elevates them, protects them from the temptation to sin, helps in self-understanding. An essential aspect of the conceptualization of prayer for Tolstoy is the definition of the conditions for its performance. Tolstoy understands prayer exclusively as an intimate, non-church appeal to God. Tolstoy believes that prayer should be carried out with complete abstraction from everything mundane. Tolstoy warns against mechanical prayer. He completely denies the prayer asking for personal well-being. Tolstoy’s understanding of prayer is dissonant with the conventional one.

The image of Christ is analyzed in Boris Poplavsky’s book of verses “Snowy hour”. Biblical allusions, lyrical plot of poems, composition and an image of lyrical subject are considered. Researched levels of literary text are studied with connection with the image of Christ, whose personality has important place in religious diaries of the poet. This diaries becomes the foundation of the lyrical book and in them theological conception of “Snowy hour” is justified. Contents of the article is presented of analyze and disclosure of main topics , whose are announced in ego-documents of the poet and are founded artistic embodiment in his lyric. Aeon of Christ is the central concept of the work, it goes back to gnostic conception by Valentinus and to the book by D. S. Merezhkovsky “Atlantis-Europe”. This term has two senses in Poplavsky’s art, it explains basic connotations in Christ’s image in “Snowy hour” and in diaries. Firstly, it’s a god-medium between worlds of humans and God; according to Poplavsky this sense includes concepts of earth nature of Christ and His kindness, He’s prophet, who is between Hell and Cosmos and goes the thorny path of the righteous. Secondly, he’s kingdom of spirit, divine space beyond the earthly world, to witch a difficult path leads, which marks a spiritual rebirth of man and world. It explains the specifics of the composition and lyrical plot of the book “Snowy hour”, when the hero is going the special path, the elevation to heaven harmony through overcoming himself human “Luciferian” nature.

An overview of the distinctive features of teacher training in Finland, which has had high international student assessment scores for more than 20 years, is presented. The authors adapted the interdisciplinary method of PEST analysis to identify the political, economic, and social aspects of teacher training that enable students of Finnish schools to get high scores in PISA. Several generalized categories of the national education system in Finland are highlighted for analysis in the research. They are the main stages or levels of education, the features of educational policy and standardization of education, the methods of teaching, the content of education, the goals and values of teacher training and the development of a teacher’s personality. The following features of teacher training at Finnish universities have been identified: orientation towards alternative educational policy in contrast to unifying global education reforms; decentralization of planning, content and focus of the curricula in teacher training as a reflection of university autonomy; the significant prevalence of practical and research components over theoretical training of pre-service teachers. The main goal of teacher training is stated by universities and the professional expert community in general; it is supported by the parliament and is defined as training a reflective responsible teacher-researcher capable of making independent educational decisions within the framework of different models and principles of teaching.