Vol 26, No 4 (2020)

The purpose of the review is to characterize general theoretical approaches to the study of diasporas in contemporary science and to present a historiographic analysis of the study of the Armenian diaspora in Russia. The research is based on a complex of historiographic sources: monographs, collective works, scientific articles, theses, that are devoted to the phenomenon of diasporas in the modern world. The authors emphasize the relevance of the study of diasporas in the context of globalization, mass migration, formation of new ethnic communities and polemics around the policy of multiculturalism. At present, the study of diasporas is conducted within the frameworks of history and philosophy, sociology and political science, ethnology and cultural studies, demography and economics, which explains the variety of methodological approaches to the phenomenon of the diaspora. Representatives of different humanities distinguish such defining features of the diaspora as stable ethnic (nostalgic) identity and collective memory, the presence of self-organization and a developed network of intragroup communications, a special style of life behavior and strategies for survival in the host society. These theoretical approaches find application in the study of the Armenian diaspora in Russia, which is a part of the world Armenian diaspora and at the same time has unique socio-cultural characteristics. Currently, the Armenian diaspora in Russia is widely studied both on a national scale and at the regional level, however, most studies cover only the southern regions and the capital of the Russian Federation. The creation of a comprehensive history of the Armenian diaspora in the Middle Volga region is an urgent scientific task. In the final part of the review, the authors outline possible prospects for further study of the Armenian diaspora in Russia and individual regions; this task can be solved using an interdisciplinary approach.

The article examines the problem of the image of Samara and the Samara region in the second half of the XIX – early XX century, the «face» of Samara of that era, the brands of the city and the province. The author shows aspects of the sides of the image of the Samara Volga region, which were reflected and broadcast to the Russian reading public on the pages of guidebooks and essays of those times, but have not yet been covered by historians and local historians. Disclosure of these issues will allow us to judge what images of the past of the Samara Volga region existed in the Russian public consciousness of the post-reform period, what new brands of the region appeared by the beginning of the XX century. In the course of the study, the author revealed that, firstly, the images of the past region are associated mainly with the Volga freemen and the names of the famous Cossack atamans; secondly, a significant part of the «brands» of the Samara Volga region appeared already in the second half of the XIX – early XX century: kumis therapy, large grain piers, etc. In this regard, the second suggests that the Samara Volga region in the post-reform era was only gaining its place on the «mental map» of Russian society.

At the present stage, musical and performing activity requires rethinking key concepts and identifying its new content. The article contains an analysis of modern professional training of a musician-performer at a university. Special attention is paid to the significance of interpretation in modern musical and performing activities. Long-term practice of concert performance creates a significant number of performing interpretations. A musician-performer must not only get acquainted and try to interpret the composer's text, but also try to understand this value content. The article offers an understanding of interpretation as a reinterpretation of the content of a work based on the artist's personal creative beliefs, which implies a different experience. This topic is also supplemented by the consideration of the act of joint activity of the participants in the performance, during which a common view of the ideas and images of a musical work is developed, as a result of which the audience's consciousness is transformed. This requires communicative competence. Thus, a musician-performer combines both communicative and interpretative abilities. The article considers the structure of professional competence of a musician-performer, taking into account the specifics of professional activity and based on the competence approach. The existing approaches to defining the essence of the concept of competence are analyzed. The structure of professional competence integrates musical and performing, interpretive, communicative, pedagogical, organizational and managerial competencies. Communicative competence is considered as a professionally significant personal property of a future musician-performer in the course of professional training at a university.

The article analyzes the focus of modern pedagogical education on the development of a professional teacher capable of updating personal and creative potential. The author uses the following methods: analysis and synthesis of thematic scientific information, results of research by specialists in the area under consideration; synthesis and systematization of facts and provisions; pedagogical observation. Also, it substantiates the main conditions for the professional formation of a graduate student-future teacher: the development of professional self-consciousness, the formation of frustration tolerance, communicative competence, the need to develop personal and professional competencies. Experience of introduction of practical-oriented system of training aimed at formation of pedagogical orientation, development of professional pedagogical thinking, social-perceptual and communicative skills of graduate students-future teachers is presented. The article proves the need for a value and meaning orientation of professional training in psychological and pedagogical education, which leads to semantic search and semantic construction in pedagogical activity. Training forms and methods that conducive to the development of personal and professional competencies are described: pedagogical studio, art-therapeutic workshop, communication training; conflict method, analysis of pedagogical situations, analysis of artistic and pedagogical works, mastering of partnership interaction techniques. Awareness of a postgraduate student –
a future teacher of his potential, prospects for personal and professional growth encourages him to constantly experiment in the course of his professional activity, search, creativity and choice. The sooner the directed personal and professional development of the teacher begins, the more it is possible to predict his psychological well-being and personal growth

The article considers the historical organizational and methodological experience of cooperation between the Leningrad Youth Theater and schools of the city in the late 1950-ies. The period is characterized by the end of the artistic direction of A.A. Bryantsev and the restructuring of soviet school in 1958. The purpose of the article is to identify the organizational and pedagogical conditions of cooperation between schools and the theater in the study period. The research problems are based on the pedagogical experience, the role and significance of theater teachers and school teachers in the process of cooperation. A set of historical and pedagogical methods (historical and genetic method, chronological, retrospective), as well as comparative, biographical methods allowed us to consider the historical practice of cooperation between the school and the theater in its development, sequence and regularity. The complex of historical and pedagogical methods (historical and genetic method, chronological, retrospective), as well as comparative, biographical methods allowed us to consider the historical practice of cooperation between school and the theater in its development, sequence and regularity. The principle of historicism and research methods allowed us to analyze the historical period and events in terms of their features and opportunities for participants in educational activities. As a result of the study, it was revealed that the emphasis of the joint activities of the school and the theater is based the assimilation of the moral and ethical component of performance by schoolchildren. The experience and professional duties of the teachers of the Leningrad Youth Theater are considered. The educational work of soviet school and the Theater are described as the result of the research

The article is devoted to an actual pedagogical problem – the creation of new valeological directions and services in the organization and content of education in educational institutions. The creation and establishment of the valeological service in educational institutions significantly expands the opportunities for continuing education of valeopedagogics. The modern education system needs qualified specialists who are prepared to work in the valeological service, which can be divided into medical, psychological, educational and social. The content of the activities of the valeological service may include preventive, correctional, diagnostic, educational, coordination, experimental, scientific and methodological, information and educational work. A modern educational institution is obliged to help every child maintain and develop health – this is a priority and urgent problem of pedagogy. The proposed program of the valeological service «Сenter for healthy child development», experimentally created and implemented in the work of schools in Ulan-Ude by teachers and students of the Pedagogical Institute of the Buryat State University, will help solve this problem. Considerable attention is paid to the mechanisms of formation, preservation, and health promotion of participants in the educational process. This view will be of interest to teachers of higher and secondary schools, students, and specialists in the field of valeological education

The article proposes a possible solution to the problem of the poly-subjectness of narrative discourse, associated with the hybrid nature of artistic communication, in which not only the world of narration is modeled, but also the communicative situation of communication. As one of the parameters of the discursive process, the analysis of which makes it possible to observe the intensive interaction of a number of systems participating in modeling the imaginary world of a work of art, the subject of the statement is considered, in M. Foucault's terminology, an «empty position» in discourse. The narrative text can be viewed as a complex of a number of communicative phenomena, as a special type of social interaction. A speech act, in which the text becomes an integral component, represents, according to this point of view, a two-unit complex of events, the process of the speaker's production of an utterance and the process of interpretive perception of the finished speech product. The interaction of the author and the reader takes place at the point «I» – «here» – «now» (Origo), in which an event takes place, which in the theory of the speaking subject of Yu. Kristeva is defined as «passing the zero position» subject of evocation-process and statement-result. In a complexly structured artistic message, the dynamics of the subject of utterance is expressed in the alternation of pronoun forms. In the structure of discourse, the subject of utterance forms a position, filling which the grammatical subject realizes the relationship between the grammatical and the communicative system, which represents a complex perspective of communication. The «observer's area», which determines the communicative situation of narrative discourse, completely excluding interpersonal relations (this is what Bakhtin means when he speaks of the absence of dramatic relations between the author and the reader). The introduction of the observer category makes it possible to describe the position of «out-of-access», according to which the author is on the border of fiction. The perspective of the «observer» explains another feature of literary communication, described by M.M. Bakhtin as «the birth of meanings at the moment of meeting (dialogue) of the consciousnesses of both participants».

The article aims to demonstrate the semantic diversity of the nouns formed with the suffix -ost’, which have been considered as one of the most regular word-formation types in the modern Russian language. In order to give a semantic portray of the given word-formation type we have analysed all the nouns with the given suffix, included in the Shvedova Dictionary and the «Russian Newspapers of the End of XX Century» Corpus, developed by Laboratory for General and Computational Lexicology and Lexicography, Lomonosov Moscow State University. The analysis shows that nouns formed with the given suffix, while consisting a large percentage of deadjectival nominalisations in the modern Russian language, show rather diverse semantic features. The main subtypes of meanings, which consist the semantic paradigm of the given word-formation type, are ‘transpositional’ (construction of nouns that name a quality), ‘parametric’ (nouns that can be used as a parameter for measuring) and subject meaning (nouns that refer to a concrete subject in the extralinguistic reality). In addition, the last subtype – subject meaning – is also consistent of nearly 20 semantic classes, including ‘substance’, ‘a person’, ‘a place’, ‘a type of documents’, ‘an event’, ‘a phenomenon’ and so on. The analysis of the corpus data shows that a large proportion of the most frequently used words in newspaper texts are the words that have rather concrete meanings. Hence their definitions in dictionaries are ought to be updated in accordance with their usages in the corpus. The results could be applied in the future study of deadjectival nominalisation in the modern Russian language

The article analyses the use of precedent proper names of biblical origin from contemporary German novels through the perspective of cognitive linguistics. The precedent hagionyms are seen as markers of the religious mindset and a means to verbalize religious involvement and the linguo cultural concept of FAITH/UNBELIEF. The precedent hagionyms in artistic discourse are used denotatively, in comparative constructions, and as part of biblical phraseology; they act as means of expressing figurative and value components of the concept of FAITH due to their strong implicational features. When used denotatively, the hagionyms manifest not only their nominative identifying function but a characterizing one as well, since every such hagionym is supported by a precedent, either an event or a text. Phraseological units containing hagionyms act as reference models for evaluation of current events, phenomena or states; they are also used humorously and ironically and as such demonstrate scepticism and negative attitudes of the speaker towards the objects of their speech, thus manifesting the concept of UNBELIEF. Hagionyms in the speech of contemporary characters contribute to the emotionality of their utterances. On the one hand, precedental hagionyms in contemporary German fiction testify that a layer of Christian culture still exists in the German language. On the other hand, the peculiarities of their usage demonstrate that linguocultural concept of FAITH is being transformed and filled with everyday phenomena and a new ‘patchwork’ religious identity is being formed

The article is devoted to axiological marking of speech metaphors in English stylized communication within drama discourse. Modern drama discourse, being the discursive space of its own status, unites the characteristics of belle-lettres discourse and colloquial speech, due to which the traditional linguistic markers of fiction obtain new meanings. While embedding into the context of stylized communication, metaphors significantly extend their functional paradigm, the centre of which is now taken by axiological function with expressive and emotive actualization. The article is aimed at systematization and linguistic interpretation of speech metaphors in English-language drama with the purpose of adequate determination of their evaluative potential and their role in linguistic representation of linguocultural axiosphere. The axiological nature of metaphors as their leading characteristic in the English-language drama has not previously been the subject of a separate linguistic study. The empirical base of the research includes 200 metaphors and metaphorical complexes recorded in modern English-language plays; the  method of complex linguoaxiological interpretation was employed as the main one. In the course of the study, the boundaries of structural variation of axiological metaphors in the English-language drama discourse were determined and their leading patterns were identified, such as one-component metaphorical nominations, multi-component metaphorical nominations and metaphorical complexes. Besides, the types of thematic transfers of speech metaphors were determined, with attention being paid to the implementation of their evaluative function in the utterance. The defined system of evaluative objects within metaphorical evaluative statements allowed to identify the components of English linguocultural axiosphere which are conceptualized in drama with the help of various structural and thematic metaphorical types, namely 'family', 'intellect', 'truth'. Each of these axiological dominants acts as a value guideline in the English-language linguoculture being linguistically marked by a certain set of metaphors fulfilling their interdiscoursive evaluative potential

The author of the book has made a significant contribution to the development of such a genre of historical literature as political biography. The quality of the Russian language used in the monograph is highly appreciated. Though a number of summary assessments which the author applies to characterize the personality of the central figure of the book involve some criticism