The paper considers the relevant methodological solutions provided by methodological linguoconceptology within the theoretical framework of a new cultural paradigm, namely metamodernism, and in the conditions of the digital transformation of education. These conditions include adjusting the content of school language education with the aid of the international transdisciplinary construct of "big ideas"; using the philosophical-pedagogical category "self-concern" as an interdisciplinary category in the applied discourse of methodological linguoconceptology; mastering the conceptual sphere of the Russian language. It is concluded that the formation of national-cultural identity, patriotic and civic self-awareness of the metamodernism generation requires a new content and methodologically adjusted (i. e. adaptive) anthropological practices.

The research is devoted to the issue of teaching listening to school students. The paper aims to explore the potential of the audio theatre method for solving the problem of forming such schoolchildren’s auditory skills as the interpretation of speech utterances and the control of speech. The study utilises the methods of modelling audio theatre activity and theoretical literature analysis as well as the comparison between intonational and sound interpretation and audio theatre. The paper describes the procedural model of audio theatrical activity and the forms of organising school students’ work on an audio performance (lesson-reading, lesson-communication). Additionally, literary genres and literary texts that can be subject to oral interpretation are mentioned. The examples of converting genre-role scenes from A. S. Pushkin’s works (mainly from «The Captain’s Daughter») into sound form demonstrate the way the audio theatre method is applied. The paper consistently conveys the nuances of converting the verbal language and the paralanguage of individual dialogic fragments into sound. It is concluded that audio theatre is effective not only as a method of building the skills that are needed to interpret and control speech. Moreover, helping learners to master listening skills in practical activity, audio theatre is a method to stimulate readers’ interpretations, develop students’ meta-consciousness, and bring together two school subjects, namely the Russian Language and Literature.

The paper is prepared in line with the retrospective analysis of the activity of the computer-aided instruction in the Russian language at Yelets State University named after I. A. Bunin. The scientific and practical conferences, scholarly disputes, workshops, and methodological seminars with methodologists and subject teachers conducted by the laboratory staff promoted N. N. Algazina’s ideas on computerisation of education and made a significant contribution to improving the theory and practice of using information and communication technologies in the process of teaching Russian. The paper concludes with the relevance of N. N. Algazina’s scientific and methodological legacy for research scientists and methodologists-practitioners who have yet to improve the process of teaching Russian in the context of digitization.

The paper presents an analysis of the research legacy left behind by Professor, Doctor of Pedagogical Sciences Nadezhda Nikolayevna Algazina. The study updates the major achievements made by N. N. Algazina and her school. These include: developing the theory of spelling methodology and its basic concepts (orthogram, variant of an orthogram, identifying features of an orthogram, the theory of the variants of orthogram difficulties); creating the educational strand «Computer support of Russian lessons» and describing its methodological foundations in order to include digital technologies in the traditional lesson of the Russian language; practical testing of the created electronic textbooks and packages of educational computer programs in all sections of the Russian language course. The paper concludes with the idea that the scientist’s legacy is relevant as it has not declined in importance. What is more, it continues to develop in scientists’ research and practicing teachers’ activity.

The paper attempts to reflect on the scientific and methodological legacy of N. N. Algazina (1922–2002) in the sphere of spelling teaching methodology in general secondary school. The study encompasses the period from the 1960s to the 1980s. The paper correlates the methodological recommendations from the textbooks and research papers by N. N. Algazina (published within the specified period) with the modern school realities. It is concluded that N. N. Algazina’s works are still up-to-date textbooks on the methodology of teaching spelling in the V–VII forms in general secondary school. The results of the performed research are based on the methods of scientific knowledge theoretical analysis (problem, review, aspect) and on the generalisation of methodological experience.

The article presents a linguo-stylistic and poetic-philosophical analysis of R. I. Rozhdestvensky’s poem "Czar Peter House in Zaandam". This piece of poetry is one of the key texts in the ideological and artistic structure of the "City’s Voice" collection of poems as it links the present with the landmarks in our national history in a single artistic continuum. The paper aims to identify the potential of the imagery in the poem for representing sociocultural and historiosophical problems of a twentieth-century person’s state and personal existence. The study also seeks to reveal the formal and semantic system of the realisation of the figures of speech and expressive means employed to represent sea imagery as a cultural and semantic marker of the poet’s world, which is seamlessly integrated into the national semiosphere. To accomplish the declared aim, the research used cognitive-semantic, systemic-holistic, structural-typological, and historical-functional methods and approaches. Additionally, elements of mythopoetic literary text analysis were employed in the unity of paradigmatic and syntagmatic relations. The sea imagery in the poem by R. I. Rozhdestvensky is not only a poetic leitmotif that constitutes the lyrical plot of the piece, but it also integrates the concepts associated with natural phenomena symbolising the space of freedom, irrational impulses, and creative life. The key image-symbol of the poem, i. e. the ship – has been identified. The artist envisaged that both "Czar Peter House in Zaandam" and Russia rushing to its great future were a ship.

The article is devoted to the analysis and interpretation of the short story by Yu. P. Kazakov "Manka". The research employs the method of philological analysis as a synthesis of literary and linguo-stylistic approaches to the text. The study results in the conclusion that the piece of writing under consideration vividly demonstrates the peculiarities of the writer’s creative manner and the specific features of his individual artistic style. The analysis of the language in the short story is carried out in close connection with its ideological content and embodies the concept of the "inner linguistic world" of a literary text, which is revealed in the subtext of the piece of work included in school Literature anthologies. The author of the article suggests literary and linguistic guidelines that Russian language and Literature teachers can use in their practice.

The article examines the functional-semantic peculiarities of the multi-level representation of comparative constructions that include phytoimages obtained from the works by the Primorye prose author Mikhail Stepanovich Demenok’s (1937–2016). The study aims to describe the regional specific features, semantic peculiarities and functions of figurative comparative constructions (similes) used in the Far Eastern naturalist writer’s works. The research was performed within the framework of functional stylistics. It relies on the cognitive approach to simile as a significant component of the artistic and poetic picture of the world that reflects the writer’s language personality. The obtained results demonstrate that phytoimages in Mikhail Demenok’s prose are represented by three main paradigms: "a plant – a human", "a plant – an animal", "a plant – things and structures created by man". The metaphorical model ginseng – a human, figurative convergence of trees and endemic animals of Primorye (a gnarl on a birch – a tiger, branches – a Manchurian wapiti’s antlers), comparing taiga to the ocean (a tree – a coral, a liana – an octopus) are regional in nature. The simile images that are based on the writer’s individual associations are semantically and stylistically charged in the text. They perform the perceptual-figurative, expressive, emotional-evaluative, and aesthetic functions. The impact of ethnocultural stereotypes can be traced in the principles of using such simile images. Along with similes with comparison words (i. e. with syndetic coordination), which ensure that the phytoimages are vivid and realistic, Mikhail Demenok employs in his works other figurative comparative constructions with a high degree of figurative concretisation. These include the instrumental of comparison, the genitive metaphor, metaphorical appositions, and other linguistic means. The research results make it possible to conclude that phytoimages fully reveal the naturalist writer’s artistic-poetic picture of the world in which man and nature are inextricably linked, are in perfect harmony.

The article presents separate formulae that fix the morphological means of expressing the subject and subject-object relations in lyrical poetry. These formulae include personal pronouns with different grammatical characteristics (here the categories of person, number, and case are meant). The author performs a linguo-stylistic analysis of texts written by A. S. Pushkin, M. Yu. Lermontov, S. A. Esenin, B. L. Pasternak relying on the experience of studying the ways personal pronouns are semanticised in lyrical poetry. The paper concludes that the lyrical text does not exist outside the pronominal formula which facilitates the disclosure of the subject of enunciation’s life philosophy (psychological state). The article highlights the sequence of personal pronouns or their case forms within the poetic text. In the author’s opinion, the variety of pronominal formulae is indicative of the lyrical structure flexibility as it tolerates different variants of pronominal expression of the subject of enunciation and those objects to which he expresses his attitudes.

The article examines one of the unresolved spelling issues, namely the formulation of a clear rule for spelling н/n or нн/nn in short forms of verbal adjectives ending in -нный/-nniy. This rule should correspond to lexicographic data, consistent writing practices, and the historical direction of the changes in the spelling of individual units. The criteria and structure of the rule have been revised. The traditional rule is based on the dichotomy "participle (н/n)/adjective (нн/ nn)", but it makes several possible exceptions for adjectives. Moreover, there are numerous examples of spelling one н/n in short forms of adjectives. The paper outlines the new rule and the reasons for its introduction. The criteria for selecting the correct spelling and the rule structure have been modified. The main criterion is the word stress in the short forms of participles and verbal adjectives ending in -нный/-nniy: 1) if the word stress is placed on the suffix only in the masculine form, there is one letter н/n (хорошо сложён, сложена, -о, -ы, / horosho slozhyon, slozhena, -o, -y / engl.: wellbuilt; навострён, навострена, -о, -ы / navostryon, navostrena, -o, -y / engl.: sharpened or concentrated); 2) if the word stress is placed on the suffix in all forms, there are two letters нн/nn (утончён, утончённа, -o, -ы / utonchyon, utonchyonna, -o, -y / engl.: refined; непринуждён, непринуждённа, -о, -ы / neprinuzhdyon, neprinuzhdyonna, -o, -y / engl.: relaxed); 3) if the suffix remains unstressed in all short forms, there is one letter н/n (атрофированы, востребованы, пресыщена / atrofirovany, vostrebovany, presyshchena / engl.: atrophied, in demand, satiated). Additionally, there are 100 words whose spelling is determined by referring to a dictionary. These lexemes fall into three groups. In the first group, the criterion for choosing the correct spelling is the grammatical category of the participle/adjective (люди собраны на митинг – люди собранны, серьезны / lyudi sobrany na miting – lyudi sobranny, seriozny / engl.: people are gathered for a meeting – people are concentrated, serious). As for the second group, participles are spelt with one н/n (пауза выдержана / pausa vyderzhana / engl.: a pause is made); adjectives are spelt with both н/n and нн/nn (пьеса выдержана в духе… – она выдержанна / pyesa vyderzhana v dukhe… – ona vyderzhanna / engl.: the play is in the spirit of… – she is unperturbed) depending on the meaning conveyed. The third group includes those words spelt with нн/nn which do not correlate with participles (восторженны, отчаянны / vostorzhenny, otchayanny / engl.: enraptured, desperate). The analysis of writing practices made it possible to review the codifications of several words provided in dictionaries. These lexemes have been classified as a separate group.

The existing rules of spelling adverbs are oriented towards different word groups that are morphologically (i. e. from the standpoint of word-formation) and lexically characterised. Adverbs formed from pronouns with the aid of prepositions-prefixes are one of such particular groups. The wording of the rule traditional for spelling guides is of general nature. Thus, it creates the illusion that any adverbs can be built from any pronouns, and that such adverbs should be spelt as one word (i. e. have a concatenated spelling). However, this is not the case. The analysis has revealed the limitations of the lexical content of the rule and its vocabulary nature. The article proposes a new wording of the rule which correctly reflects its scope. On this basis, the typology of spelling rules for adverbs is clarified. The article also introduces new lexical material including both exceptions to the rule and a range of fixed adverbial combinations of pronouns with prepositions (bezo vsego / without anything, bezo vsyakogo / without any, bez nikakikh / with no, pri svoyom / with one’s, pri etom / in this respect, pri sebe / on the person, pro sebya / to oneself). Such expressions do not satisfy the criteria of the rule, but they are necessary to describe the category of words under discussion objectively and comprehensively. The article is part of a series of publications devoted to the academic description of Russian orthography.

The article considers current problems of establishing the correct status of geographical features, which is necessary to choose well-grounded spellings of geographical terms that are included in toponyms of two types. The first type is comprised of "false" geographical terms; the second type contains terms denoting large extended geographical objects. The paper provides practical recommendations for fixing well-grounded spellings of toponyms.