The present paper deals with the study of derivational features of noun derivatives with the suffixонок/-ёнок (-onok). The choice of the formant is determined by the fact that the indicated suffix does not produce a large number of word-formation types and, therefore, rarely becomes an object of special studies. However, its colloquial productivity suggests that this formant deserves a closer look. In the literary language, the suffix-онок/-ёнок (-onok) forms the nouns that name cubs, children as representatives of a nationality, social stratum or profession called the motivating word, and a group of derivatives with the suffix -онок/-ёнок(-onok) that has a diminutive-hypocoristic or only affectionate meaning. The material for the study was the data from Unabridged Dictionary of Russian Jargons by V.M. Mokienko, T.G. Nikitina. As a result of application of the method of continuous sampling, we have revealed 42 derivatives with the suffix -онок/-ёнок (-onok) which were subjected to word-formation and morphemic analysis. It is established that the suffix -онок/-ёнок (-onok) is not very often used in jargon word formation. Two ways of the formation of jargonisms by means of this formant have been revealed: the suffixation proper and semantic derivation. The inclusion of foreign words in the process of formation of derivatives with the formants -онок/-ёнок (-onok) is observed. It has been established that the suffixонок/-ёнок (-onok) in jargon word formation performs the following functions: nominative, evaluativeexpressive, and style-forming. The results can be used, firstly, in lexicography (inclusion of the units with the suffix -онок (-onok) into explanatory dictionaries of word-formation), and secondly, in linguodidactics (as the subject matter for courses in word formation, Russian as a foreign language).

The object of analysis in the provided article is the language-game as a method of representing the author’s vision. The content behind term “language-game” is revealed by  an art space of A.I. Vvedensky, Russian poet of avant-gardism and philosopher. It is analyzed a distinction between children’s and adult’s works. The main content of the current study is an analysis of the most effective methods of language-game presentation in artistic communication of the poet, such as free verse, contamination of phraseological units, comparison, semantic indifference of lexemes, transformation of grammar categories, phrase deformation, etc. Based on the conducted research, a conclusion about specifics of the poet’s individual writing style can be made. In Vvedensky’s linguistic poetics, language-game manifests itself at different levels of text function as an important factor to text formation. It is important to note that language-game techniques found in his children’s works are aimed at building a positive dialog and are seen as a positive phenomenon, while his more mature works feature an abstract artistic world with abstract artistic meaning.

The article is devoted to the linguistic analysis of art structures of two avant-garde writers. The general category of texts is taken as a basis -the category of absurdity often referred to as "boffinry.» Notwithstanding the traits of similarity, the ways of realization of an art discourse differ, for example, A. Vvedensky has a dominating principle of "semantic nonsense," as well as D. Kharms -"situational nonsense" when there is either a collision of meanings or collision of situations. As a result, it is possible to speak about a conscious asemantism and an art agrammatism in the texts devoted to realize, first of all, the de-constructive function of language. Thus all the elements of standard communication are involved in skillful manipulations by Vvedensky and Kharms. Key words: semantics, art absurdity, communication violation, language experiment, function of the nomination Аннотация Статья посвящена лингвистическому анализу художественных структур двух писателей-авангардистов. За основу берется общая категория текстов -категория абсурда, зачастую именуемая «заумью». При несомненных чертах сходства, различаются способы реализации художественного дискурса, так, у А. Введенского доминирующим становится принцип «семантической бессмыслицы», у Д. Хармса -«ситуационный», когда происходит либо столкновение смыслов, либо столкновение ситуаций. В результате можно говорить о сознательном асемантизме и художественном аграмматизме в текстах, направленных реализовать, прежде всего, деконструктивную функцию языка. Таким способом все элементы нормативной коммуникации оказываются вовлеченными в умелые манипуляции со стороны Введенского и Хармса. Ключевые слова: семантика, художественный абсурд, нарушение коммуникации, языковой эксперимент, функция номинации ВведениеОпределяя лексико-семантическое своеобразие художественного мира А. Введенского и Д. Хармса, важно обратить внимание на отношение знаков друг к другу, на их координированность и корреляцию в речевом произведении, иначе говоря, на парадигматические и синтагматические отношения языковых компонентов, условно обозначаемые в лингвистике изобразительно-выразительными средствами языка, составляющие основу лингвостилистического анализа.Александр Введенский и Даниил Хармс были известны широкой массе читателей прежде всего благодаря детскому словотворчеству. Так называемые «взрослые» тексты писателей были опубликованы, в большинстве своем, посмертно. И Введенский, и Хармс -представители литературной группы ОБЭРИУ (объединение реального искусства, первая половина XX века),

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