dialogue

The article presents the analysis of the dialogue nature of written academic communication based on Russian evaluative academic discourse. The texts of 70 official dissertation reviews in humanities and sciences, published on the sites of dissertation councils of Russian universities in 2020–2024, were used as an empiric base for the research. The research aims to identify the role of hedge markers – specific discourse units used to mitigate the claims of the author – in manifestation of the dialogue character of the dissertation review as a speech genre.

The article analyzes the unique manifestation of one of the communicative speech strategies – the strategy of self-presentation, which, “at the suggestion” of the author, is quite actively implemented in modern plays by their characters. The analysis is based on the work of Nikolay Kolyada (the play Wedge-Wagon from the dramatic diptych Two Plus Two).

This article provides a description of the ways in which other people’s speech is conveyed in modern and classical prose on the material of the collections of novels Dark Alleys by I.A. Bunin and Foggy Alleys by A. I. Slapovsky. The focus is on several ways: direct speech constructions, free direct speech, and dialogue. This choice is due to the fact that precisely these ways most clearly demonstrate the features of modern prose.

The article deals with the epigraph as a form of dialogue between the author and the reader that is essential for the realization of narrative strategies in a novel. The implementation of the epigraph helps the reader not only to understand the message of the work, but allows him to join in co-creating.

Stage directions of the first plays of Russian drama in many respects are directed towards the understanding of ritual actions of the court culture. But at the same time they are forming a ramified system of non-verbal actions designation. J.G. Gregory’s plays «The Comedy of Artaxerxes» and «Judith», having absorbed in themselves the originality of national notions about theatricality and principles of European stage performances, demonstrated how swiftly the dramatic art was mastering functional and plot-related opportunities of stage direction descriptiveness.

In the article the distinct characteristics of poetic dialogue are highlighted, such as its being synsemantic, its being addressed, etc; such types of dialogue are defined as intratextual and extratextual.

The article researches how additional communicative units function in monologues and dialogues that sound on the Russian and English radio. In the Russian broadcasts those units are used more frequently and in more diverse ways than in the English ones. Dialogical speech is filled with more additional units of various types than monological speech. The differences between the monologue and dialogue are more vividly pronounced in the English language broadcasts.

The article analyzes different aspects of the epistolary interaction in F. M. Grimm’s correspondence with N. P. and S. P. Rumyantsev, the dialogue role in the written communication and the impact of the courteous tradition on the development of the intimate principle in a pri vate correspondence which facilitated the genre evolution at the turn of the XVIII–XIXth centuries.

The lexical and syntactic elements of colloquial speech in the poetic text are singled out as features of the stylization of living speech in the lyrics of A. Akhmatova.

The article is devoted to the study of the play of the modern English playwright M. Frein "Wild Honey", which in turn is a translation-interpretation of Chekhov's "Platonov". The article analyzes approaches, ways Frein uses in working with Chekhov's text, and also tries to understand how organically the classical Russian-language text exists in the space of the theatrical culture of England.