2025 Issue №2

Causation is one of the fundamental conditions of existence. The cause-and-effect rela­tionships between elements of reality, which possess universal significance, are reflected dif­ferently across linguocultures and manifest at various levels of language. A comparative ana­lysis of the grammatical features of causative expression in structurally diverse languages — Kabardian, or East-Circassian, Russian, and English — has revealed differences in com­mu­ni­cative behavior shaped by the cultural backgrounds of speakers. English causative con­struc­tions, whose cultural elaboration constitutes a distinctive typological feature of the lan­guage, emphasize the autonomy and freedom of the causer. In the Kabardian linguoculture, unlike in Russian and English, permissive or imperative meanings of causation are deter­mined by con­text. For native speakers of Russian and Kabardian, a direct imperative is not perceived as less polite compared to permissive causative constructions, as is often the case in English-speaking cultures. In today’s integrated world, intercultural adaptation represents a central and defin­ing challenge. Decoding ethnocultural differences in the formation of causa­tive constructions across diverse linguistic systems contributes to a deeper understanding of the unique mental frameworks of speakers and fosters more effective intercultural communi­cation.

The aim of this study is to describe the changes that occurred in the graphic system of the German language during the Old High German, Middle High German, and Early New High German periods, as well as to identify current trends in German orthographic writing. The key research methods employed include a comparative analysis of the script found in German written monuments and the method of graphematic analysis. The empirical material compris­es written records from the three historical periods of the German language, including the Vaterunser (The Lord’s Prayer). The conducted graphic analysis of German written monu­ments using the Vaterunser as an example revealed changes in the graphic system of the German language across these developmental stages. The presented material may be helpful in lecture courses and practical classes on the history of the German language and theoretical phonetics.

This study explores the pragmatic potential of linguistic means used to explicate the call-to-action strategy in English-language environmental discourse. The position of environmen­tal discourse within the broader discursive space is defined, and a brief overview of relevant studies is provided, with a focus on its substantive linguistic characteristics. Based on an analysis of articles published in the English-language edition of The Ecologist, the study iden­tifies the textual realization of the call-to-action strategy through a combination of means reflecting both objective and subjective modality. Verbs in the imperative and subjunctive moods are identified as primary markers of objective modality. The main indicators of subjec­tive modality include modal vocabulary, represented by specific verbs, particles, words, and phrases. The presence of additional linguistic devices in the analyzed texts is also noted, con­tributing to the enhancement of the linguo-pragmatic potential of English-language media-based environmental discourse.

The study examines the description of the artistic color space constructed with lexemes containing the root ryzh- (“reddish-brown” or “ginger”), which differ in their grammatical characteristics, in Russian poetry of the first third of the 20th century. It is revealed that color designations with the meaning ryzhiy were predominantly used by poets in 1916, with the most frequent usage observed in the poetry of E. Bagritsky, I. Selvinsky, V. Mayakovsky, Sasha Chyorny, and M. Tsvetaeva. Uneven frequency of use is identified among the various grammatical forms of lexemes with the ryzh- root in the poetry of this period. The study demonstrates that the diversity of these color terms supplies the poetic language with gram­matically varied means that contribute to realizing the author’s artistic vision. A structural-morphological classification of ryzhiy color nominations is proposed, taking into account the number of stems. The research draws upon a rich body of poetic material from the first third of the 20th century, illustrating five linguistic groups of color terms containing the ryzh- root morpheme: simple single-stemmed nominations represented by different parts of speech; com­pound adjectival forms; syntactic constructions; comparative constructions; and figurative-semantic units composed of several linguistic elements. The findings may be of interest to literary scholars researching the works of Russian poets of the Silver Age and may also be applicable in the practice of lexicography.

The article explores the symbolism of the forest in N. Hawthorne’s “The Scarlet Letter.” This study aims not only to interpret the meanings associated with this topos but also to illus­trate its role in developing three internal plots within the novel. A brief overview of the for­est’s reception as a symbolic space in European culture reveals four primary interpretations: the forest as a source of materials and resources, the forest as hell, the forest as paradise, and the forest as a frontier — a space for the hero’s initiation. This analysis of “The Scarlet Let­ter” through the lens of literary historicism and archetypal criticism demonstrates that Haw­thorne ironically reinterpreted all four readings of the forest to highlight the internal contra­dictions in the history of his native New England. For instance, the Puritans' fear of the for­est as the “abode of the Black Man” did not prevent them from using timber from the forest to build their New Canaan. Similarly, their dreams of an earthly paradise were contradicted by their act of cutting down the forest, which is depicted in the novel as a locus amoenus. The forest serves as a transformative space in the lives of the main characters; notably, only Hester Prynne successfully undergoes the “forest initiation.” This observation allows us to draw conclusions about the author’s true sentiment regarding the legend of the Black Man in the forest. The relevance of this research stems from the importance of engaging with classical texts and addressing existing gaps in scholarship, particularly the exploration of spatial poet­ics in Hawthorne’s work.

The article explores the artistic embodiment of the four types of love that C. S. Lewis dis­cusses in detail in his treatise The Four Loves and in his mythological novel “Till We Have Faces”. Given the centrality of the theme of love in the novel, it is reasonable to assume that in this 1956 work, the author was already artistically reflecting on the ethical and psychological concepts he would later elaborate in the treatise, which was based on a series of radio talks broadcast by Lewis on American radio in 1958. The book “The Four Loves” was published two years later, in 1960. At the same time, the conceptualization of love as a complex and multifaceted phenomenon is already present in the artistic philosophy of the novel under study. This article traces the main features of the literary representation of the notions of friendship, charity, erotic love, and familial love in “Till We Have Faces”. All four forms of love are analyzed at the levels of plot development, the construction of the main female charac­ters (Psyche and Orual), and the philosophical dimension of the mythological novel in the context of the ancient Greek myth of Cupid and Psyche, which serves as the narrative founda­tion of the work.

The canonical title of the song “Prervannyi polet” (“Interrupted Flight”) is not clearly established in Vysotsky’s handwritten or audio archives. This raises the question of the exist­ence of alternative titles in the song’s textual history, their origins and textual status, the source of the title “Prervannyi polet”, and the reasons for its eventual textual consolidation. The creative history of the text is traced based on surviving manuscripts, authorized type­scripts, and materials from audio archives. The study reveals that at different stages in the song’s history, the author used various titles for it; a number of non-authorial titles are also documented, including translated titles in French. Some of these externally assigned titles were supported by Vysotsky himself, who used them to refer to the song during public per­formances. However, he did not fix any of the authorial or non-authorial titles as the main one, instead preferring to refer to the song by its opening line: “Kto-to vysmotrel plod” (“Someone spotted the fruit”). The title “Prervannyi polet” gained popularity and was canon­ized only after the poet’s death.

Buddhist ideas, motifs, and imagery are present throughout the works of Viktor Pelevin, from his earliest writings to his most recent novellas and novels. His 1991 novel “Omon Ra”, alongside its diverse philosophical, cultural, and literary allusions, draws upon the Buddhist philosophical concept of “consciousness-only,” which posits that only consciousness truly exists, while the external world is ultimately unreal. The image of the “Soviet Cosmos” in Pelevin’s novel combines at least two meanings — the near-Earth or near-lunar fragment of the universe and the Soviet world order — and also serves as a metaphor for the psychic world within which every person exists and which each individual generates. The protagonist of Omon Ra is portrayed less as a cosmonaut than as a psychonaut, discovering a psychic cos­mos with a simulacral nature. The world depicted in Pelevin’s narrative is richly illusory: it resembles a child’s drawing or a theatrical stage and may be characterized as oneiric, māyā-like (from the Sanskrit māyā), or samsaric. Through intertextual references, allusions to my­thology, cinema, and literature, Pelevin emphasizes the illusory nature of his characters. In “Omon Ra”, the chronotope is also depicted as conditional, existing outside of conventional systems of temporal and spatial coordinates. The reality portrayed in the novel is, in the Bud­dhist sense, empty — that is, subjectively motivated. The mirror-like and simultaneously cir­cu­lar composition captures the protagonist’s endless journey within the cyclical movement of the illusory world of saṃsāra, while the open ending suggests the possibility of the hero’s lib­eration.

The educational process implemented in the educational institutions of the Ministry of Internal Affairs of Russia requires the use of alternative methods that facilitate learning. Within the context of these innovations, the leading directions of pedagogical activity include the development and enhancement of integrative skills among students, as well as the creation of new forms of interaction in practical training sessions. The theoretical research conducted in this study aims to address the following objectives: to analyze current information regard­ing interdisciplinary approaches to teaching a block of specialized subjects in educational in­stitutions of the Ministry of Internal Affairs of Russia; to specify the definition and objectives of interdisciplinarity; to identify approaches and concepts in interdisciplinary pedagogical practice; to clarify the concept and objectives of formative assessment; and to determine the most promising assessment strategy that enhances the effectiveness of the educational process within the system of educational institutions of the Ministry of Internal Affairs of Russia, in which students and instructors interact harmoniously and complement each other. Alongside the empirical method of oral surveying, the study employed the main tools of theoretical re­search methods, with the dialectical method of scientific inquiry serving as the principal one. Emphasizing the formative nature of the assessment method under consideration made it pos­sible to reveal the essence of the pedagogical process in physical training, specifically in the context of tactical and technical training for police officers.

With the aim of expanding the research base of concepts and methodologies in the field of educational psychology, this study analyzes the challenges encountered in the process of con­tinuous education for employees in the sphere of prosecutorial activity. Digital services within the Russian Prosecutor’s Office system currently do not adequately provide systematic and high-quality training for newly appointed personnel or support professional development for experienced employees. The key issues are linked to the underdevelopment of internal machine learning systems, the geographical remoteness of many district and specialized prosecutor’s offices from interregional training and professional development centers and departmental universities, as well as the lack of specialization within university-level legal education pro­grams tailored to the various branches of prosecutorial work. As a proposed solution, the ex­perience of the Human Resources Department of the St. Petersburg Prosecutor’s Office is presented in the development and implementation of professional development digital services based on machine learning platforms. The effectiveness of a proprietary algorithm and per­sonnel training model for use in the Russian Prosecutor’s Office is demonstrated. The materi­al presented may be useful for organizing professional development programs in prosecutorial institutions across Russia, as well as in other governmental bodies responsible for the training and qualification improvement of their personnel.