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<doi_batch xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns="http://www.crossref.org/schema/5.3.1" xmlns:jats="http://www.ncbi.nlm.nih.gov/JATS1" xmlns:fr="http://www.crossref.org/fundref.xsd" xmlns:ai="http://www.crossref.org/AccessIndicators.xsd" version="5.3.1"><head><doi_batch_id>NONE</doi_batch_id><timestamp>20260530015954085</timestamp><depositor><depositor_name>Immanuel Kant Baltic Federal University</depositor_name><email_address>no-reply@journals.kantiana.ru</email_address></depositor><registrant>Immanuel Kant Baltic Federal University</registrant></head><body><journal><journal_metadata><full_title>Slovo.ru: Baltic accent</full_title><issn media_type="print">2225-5346</issn><issn media_type="electronic">2686-8989</issn></journal_metadata><journal_issue><publication_date media_type="print"><month>05</month><day>30</day><year>2026</year></publication_date><journal_volume><volume>16</volume></journal_volume><issue>1</issue></journal_issue><journal_article publication_type="full_text"><titles><title>Prerequisites for the formation of Neostructuralism as an integral linguistic paradigm</title><original_language_title>Предпосылки становления неоструктурализма как интегральной лингвистической парадигмы</original_language_title></titles><contributors><person_name sequence="first" contributor_role="author"><given_name>M.A.</given_name><surname>Kravchenko</surname><affiliations><institution><institution_name>Rostov State Transport University</institution_name></institution></affiliations><ORCID>https://orcid.org/0000-0002-6776-4131</ORCID></person_name></contributors><jats:abstract><jats:p>This work is the result of methodological reflection related to the comprehension of more than two hundred years of experience accumulated since the secularization of linguistics, and the formation of a reasonable forecast regarding the near and medium-term development of linguistic science. The development of linguistics is determined by the dynamics of para­digms. In understanding the latter term, the author follows the tradition laid down by Kuhn, taking into account the nuances of its transfer to the linguistic soil formulated by academician Stepanov. The paradigm forms a deep methodological framework that has a direct impact on the goals, subject and methods of research. At the same time, the paradigm shift reflects the development and continuity of linguistic knowledge. The driving force behind the develop­ment of linguistics is the competitive struggle between the ideas of anthropocentrism and systemocentrism. To explain the mechanism of paradigmatic cyclicity, the author refers to the concept of the paradigm life cycle. The article demonstrates the signs of "aging" of the current anthropocentric paradigm. Modern linguistics is on the threshold of a new methodological search. At the current moment, prerequisites are emerging for methodological transfor­mations, the result of which may be the creation of an integral (universal) research paradigm capable of providing complete and adequate comprehension of language. Neostructuralism is considered as a variant of the implementation of the integral paradigm, as a linguistic plat­form that provides a return to the fundamental positions of systemocentrism while preserving the most productive ideas of anthropocentrism. 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This acceleration leads to excessive cognitive load, which diminishes the ability to critically evaluate and analyse received information. This article explores the conceptual processes that underpin manipulative influences within media discourse. Through a conceptual analysis of contemporary English-language media, using the News on the Web corpus, the study identifies and describes key types of conceptual transfers that serve as the foundation of manipulative acts. The cognitive mechanisms of analogy, metaphorization, emotionalization, profiling, attribution, framing, scripting, and their numerous combinations form the basis of manipulation in modern English-language media texts. These processes are characterized by dynamism and polydomain interaction, making their identification and analysis even more complex. 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Kognitivnye issledovaniya yazyka [Cognitive Studies of Language], 5 (61), рр. 74—81 (in Russ.).</unstructured_citation></citation></citation_list></journal_article><journal_article publication_type="full_text"><titles><title>Сognitive mechanisms of semantic adaptation of borrowings in Russian</title><original_language_title>Когнитивные механизмы семантической адаптации заимствований в русском языке</original_language_title></titles><contributors><person_name sequence="first" contributor_role="author"><given_name>V.A.</given_name><surname>Belov</surname><affiliations><institution><institution_name>Peter the Great St. Petersburg Polytechnic University</institution_name></institution></affiliations><ORCID>https://orcid.org/0000-0002-4173-2000</ORCID></person_name><person_name sequence="additional" contributor_role="author"><given_name>V.M.</given_name><surname>Belova</surname><affiliations><institution><institution_name>Power Machines Joint Stock Company</institution_name></institution></affiliations><ORCID>https://orcid.org/0000-0002-6057-1580</ORCID></person_name></contributors><jats:abstract><jats:p>This paper investigates the semantic adaptation of new borrowings in Russian, addressing a gap in research on this topic. 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The study draws on the Russian Short Sto­ries Corpus 1900—1930, word frequency lists compiled from the stories by particular authors (Ivan Bunin, Alexander Kuprin, Anton Chekhov, Leonid Andreev), and the Russian National Corpus. Two major statistic parameters are used, i. e. relative frequency (ipm) and rank dis­tribution. The study focusses on the most common colour terms. A multifold comparison has revealed differences due to the author’s personality, historical context, and literary form. Thus, considerable divergence is shown to exist in the individual writers’ preferences for the particular colour terms. However, the differences come down to a unified rank distribution in a sample from the Russian Short Story Corpus 1900—1930, containing stories by a few hun­dred authors. While not affecting the intra-group rankings of colour terms, the turbulent his­torical events seem to have spurred their ipm index. A hypothesis is put forward to account for this, based on an earlier paper. 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The primary objective of this analysis was to examine the hypothesis regarding the gradual emergence of the syllabo-tonic system within the framework of syllabic verse. This hypothesis challenges the views of numerous scholars of versification, who argue for a revolutionary shift in Russian poetic tradition, attributed to the publication of Vasily Trediakovsky's 1735 treatise. Additionally, the study aims to compare the theoretical recommendations outlined in Prokopovich's poetics and rhetoric with his own experiments in versification. The most common form in Theophan's poetry, as well as in the works of the Virsheviks—his predecessors and contemporaries—is the thirteen-syllable verse. This form is genre- and theme-diverse, appearing in odes, epigrams, inscriptions, occasional poems, and humorous poem cycles. However, it is less metrically ordered compared to other types of syllabic verse and exhibits the greatest diversity in accent placement. It actively demonstrates the "inverted rhythm" described by A. P. Kvyatkovsky and shows the least tendency toward a "fixed" rhythm. Eleven-syllable verses, found in epitaphs, psalm adaptations, messages, epigrams, and occasional poems, are somewhat less common in Theophan's lyrics. Octosyllabic and heptosyllabic verses are rare, while a single example of a decasyllabic verse is present in his body of work. The "incorrect" lines in isosyllabic verses turn out to be marginal, which, along with the increase in the number of repeating accent patterns in Theophan's poems, speaks of the high development of the verse technique in the post-Petrine era.</jats:p><jats:p>The norms of the future syllabo-tonic system gradually, slowly, but steadily developed in the depths of verse poetry. 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A native of the capital of the German province East Prussia, he was an outstanding otorhino­lar­yngologist, a lecturer at the University of Königsberg, as well as an original poet and pub­li­cist. The study, based on biographical and narrative methods, reveals the main stages of Ger­ber’s life, and clarifies the dating of its most important events. The author comments the Ger­ber’s most significant works, including scholarly publications on Wolfgang Amadeus Mozart and Johann Wolfgang Goethe (the article briefly covers subsequent scholarly controversy sur­rounding the article on Mozart’s ear). Some of Gerber’s scholarly and popular texts are quot­ed, reflecting both his varied interests and the specificity of his literary style. Based on the materials of address books of Königsberg the article reconstructs the addresses of Gerber’s residence and work as well as the current state of the places connected with the biography of the outstanding citizen of Königsberg (the house where Gerber lived in the last years of his life has been preserved and included in the register of cultural heritage objects in contemporary Kaliningrad, but the memory of the famous tenant is not commemorated there). 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Berlin.</unstructured_citation></citation><citation key="26"><unstructured_citation>Trauerfeier für Professor Gerber. 1919. Königsberger Hartungsche Zeitung. 18 Okt., 489. S. 5.</unstructured_citation></citation></citation_list></journal_article><journal_article publication_type="full_text"><titles><title>“Everything has already happened!”: the first Russian translation of the poem by Paul Henry Gerber</title><original_language_title>«Все уже было!»: первый русский перевод стихотворения Пауля Генри Гербера</original_language_title></titles><contributors><person_name sequence="first" contributor_role="author"><given_name>L.V.</given_name><surname>Syrovatko</surname><affiliations><institution><institution_name>Kaliningrad Regional Museum of Fine Arts</institution_name></institution><institution><institution_name>Immanuel Kant Baltic Federal University</institution_name></institution></affiliations></person_name></contributors><jats:abstract><jats:p>The paper is the first translation into Russian of the poem ‘Everything has already hap­pened! (Epistle to Julius Stettenheim)’ by the outstanding German scholar, professor at the University of Königsberg, medical practitioner and poet Paul Henry Gerber (1863—1919). The poem first appeared in Gerber’s collection of poems ‘From Youth. Songs and Poetry’ (Ber­lin, 1895); it was also reprinted in a review of the book published in the journal Mnemosyne. The poem, in which gentle humour shades into deep philosophical content, was addressed to the German publisher and journalist Julius Stettenheim, and contains allusions to the Book of Ecclesiastes and the works of the German classics. The publication also reproduces the origi­nal text and a translation of a journal review. The commentary briefly covers the principles of translation, and provides information on the main motifs of the poem and the personalities mentioned in it.</jats:p></jats:abstract><publication_date media_type="print"><month>05</month><day>30</day><year>2026</year></publication_date><pages><first_page>201</first_page><last_page>210</last_page></pages><doi_data><doi>10.5922/2225-5346-2025-1-12</doi><resource>https://journals.kantiana.ru/slovo/15820/82953/</resource></doi_data><citation_list><citation key="1"><unstructured_citation>Dementev, I. O., 2025. Paul Henry Gerber — physician, professor, poet from Königsberg. Slovo.ru: Baltic accent, 16 (1), pp. 189—200. https://doi.org/10.5922/2225- 5346-2025-1-11 (in Russ.).</unstructured_citation></citation><citation key="2"><unstructured_citation>Garibert, H., 1895. Aus der Jugendzeit. Lieder und Gedichte. Berlin.</unstructured_citation></citation><citation key="3"><unstructured_citation>Grinde, К., 1996. Nordisk musik-tidende 1880—1892, Orkestertidende 1892—1894. Ann Arbor.</unstructured_citation></citation><citation key="4"><unstructured_citation>Literatur. 1895. Mnemosyne. Beiblatt zur Neuen Würzburger Zeitung mit Würzburger Anzeiger. 6. März, 28, s. 112.</unstructured_citation></citation></citation_list></journal_article><journal_article publication_type="full_text"><titles><title>Reception Heiner Müller’s drama “Cement” in Russia at the turn of the XX and XXI centuries</title><original_language_title>Рецепция драмы Х. Мюллера «Цемент» в России рубежа XX—XXI веков</original_language_title></titles><contributors><person_name sequence="first" contributor_role="author"><given_name>Yu.Yu.</given_name><surname>Miklukho</surname><affiliations><institution><institution_name>Novosibirsk State Technical University</institution_name></institution></affiliations><ORCID>https://orcid.org/0009-0004-5182-1623</ORCID></person_name></contributors><jats:abstract><jats:p>The literary fate of the German dramatist Heiner Müller is paradoxical. Despite his plays being part of the main repertoire in many of the world’s leading theaters, he faced prolonged censorship both in his homeland, the German Democratic Republic, and in Russia. However, interest in his works has grown significantly in recent years. Müller's major works have been translated into Russian, and his plays are increasingly staged in domestic theatres. Alongside these theatrical productions, Russian researchers are actively engaging with Müller’s legacy, analyzing various aspects of his dramatic works in numerous scholarly studies. This demon­strates the emergence of an active phase of academic discourse in Russia centered on Heiner Müller's contributions to drama.</jats:p><jats:p>This article aims to examine the specifics of the Russian-language reception of Müller’s play “Cement” in contemporary scholarship and culture. “Cement” holds a pivotal role in the process of mastering Müller’s legacy in Russia. The study is novel and significant as it sys­tematically organizes materials on the reception of this play, providing a comprehensive anal­ysis of how it has been perceived and interpreted. The key themes and dominant aspects of “Cement” are identified through a comparative analysis of current Russian research on Mül­ler’s work, as well as insights from modern Russian electronic media. The study draws con­clusions about the nature of Müller’s reception in Russia and the specific perception of his drama in this context. The practical significance of this research lies in its applicability to the development and delivery of lectures on the history of European drama, as well as specialized courses on German literature.</jats:p></jats:abstract><publication_date media_type="print"><month>05</month><day>30</day><year>2026</year></publication_date><pages><first_page>211</first_page><last_page>225</last_page></pages><doi_data><doi>10.5922/2225-5346-2025-1-13</doi><resource>https://journals.kantiana.ru/slovo/15820/82955/</resource></doi_data></journal_article></journal></body></doi_batch>
