he article deals with the design and technological features of making jewellery using hot enameling technology by Ilgiz Fazulzyanov, one of the leading Russian enameller jewellers. A retrospective of the Master's jewellery pieces showed that complex design tasks require painstaking and very labour-intensive work to solve complex technological problems associated with creating complex three-dimensional jewellery models and laying stained glass enamels on complex precious metal bases that are not visible to the public. Original solutions to these problems allowed Ilgiz Fazulzyanov to lay the foundation for creating his own jewellery brand.

The article deals with the peculiarities and interaction of design and technology at different stages of the world history of enamel art. The origins and prototypes of enamel art and their step-by-step development from the Middle Ages to artistic enameling in the 20th century are revealed. The step-by-step development of various technological and visual techniques in hot-enamel art in the historical retrospective and the reflection of all accumulated experience in modern enamel art works are traced and emphasised. The art history analysis of hot enamelling studies in different countries and regions reveals the main points of enamelling development. The gradual development, influence and borrowing of different techniques, regional and technological peculiarities are underlined. The dependence of technological methods and possibilities of design relevant to different historical periods is revealed; an attempt to decipher the formulation of artistic tasks of the craftsmen of the past is made. The authors show the long experience of working out various technological methods and the necessity of preserving and direct transfer of skills from the teacher to the student. Conclusions are made about the step-by-step long-term development of hot-jeweled enamel technologies and the direct dependence of the artistic component on technological innovations, as well as the necessity to directly study all possibilities and properties of enamel worked out in the past. Modern trends in the development of enamel art are considered. The use of historical practical experience simplifies considerably the setting of new artistic tasks.

The article deals with the peculiarities and interaction of design and technology at different stages of the world history of enamel art. The origins and prototypes of enamel art and their stepwise development from pre-enamel technologies in the enamel art are revealed. The stepwise development of various technological and visual techniques in hot jewellery enamel in historical retrospect is traced and emphasised. The art history analysis of hot enamelling studies in different countries and regions reveals the main points of enamelling development. The gradual development, influence and borrowing of different techniques, regional and technological peculiarities are underlined. The dependence of technological methods and possibilities of design relevant to different historical periods is revealed; an attempt to decipher the formulation of artistic tasks of the masters of the past is made. The authors show the long experience of working out various technological methods and the necessity of preserving and direct transfer of skills from the master craftspeople to their apprentices. Conclusions are made about the stepwise long-term development of hot-jewelled enamel technologies and the direct dependence of the artistic component on technological innovations, as well as the necessity to directly study all possibilities and properties of enamel worked out in the past.

Наличие разногласий у переводчиков «Аргонавтики» объясняется тем, что они выступили в роли комментаторов, интерпретаторов смысла текста поэмы. При переводе фрагмента они должны были учитывать все контексты, в которых александрийский поэт использует конкретное слово или образ, и, в случае необходимости, обращаться также к поэмам Гомера, как одной из главных моделей, на основании которой Аполлоний Родосский создает собственное произведение. Ключевые слова: Аполлоний Родосский, «Аргонавтика», перевод. The presence of disagreements among the translators of the «Argonautica» is explained by the fact that they acted as commentators, interpreters of the meaning of the poem's text. Translating the fragment, they had to take into account all the contexts in which the Alexandrian poet uses a specific word or image, and, if necessary, also refer to Homer's poems, as one of the main models of Apollonius Rhodius' poem.

This article analyzes the methods of teaching Latin medical anatomical terminology in multilingual groups of students, where the language of teaching is Russian. The analysis is carried out on the example of multilingual groups of the Peoples' Friendship University of Russia (RUDN), peculiarity of which is joint training of foreign students and students with Russian as a native language. In such groups, it is difficult for the teacher to rely on the native language of the students (there are too many such languages) or on the language of teaching, which is poorly spoken by the foreign part of the group. The common languages spoken in multilingual groups of the Medical Institute of RUDN University are indicated. The main problematic aspects in the study of Latin terminology for both students speaking different foreign languages and for the teacher conducting lessons in a multilingual group are discussed; the methods of overcoming these problematic aspects are suggested. The relevance of this problematic is substantiated by the increasing number of multilingual groups in Russian universities, including those where the teaching language is Russian. Our methodological recommendations can be used by teachers for preparation of the program and for development of test materials for multilingual groups.