The main aim of a foreign language teacher is to form a student’s communicative competence, which is a complex of other competencies such as linguistic, discursive and linguocultural. For successful psychological and social adaptation in a new cultural and linguistic space for a foreign student is extremely important at the initial level of education begin to master the basic linguistic and cultural concepts that reflect the culture of the speakers of the studied language and leads to the adoption of a different worldview. Thus, for successful communication, you need not only use phonetic, grammatical, syntactic and pragmatic rules of the language, but also you should have a clear idea of the conceptual picture of the world of the people, who speaks this language. It follows that the study of any foreign language should occur inextricably linked with the knowledge of culture, values and understanding of the native people of this language. The objective of the work is to formulate the key linguocultural principles of teaching Russian as a foreign language. To achieve this objective, the works of leading researchers in the field of linguistics, didactics, methods of teaching Russian as a foreign language have been analyzed. The research object is an inextricable link between learning a foreign language and the culture of its speakers. The research result is the proof of the need to learn a foreign language as being inextricably linked with knowledge of the culture, values and world outlook of the people - speakers of this language, as well as a list of basic linguocultural principles, on which teaching a foreign language, including Russian as a foreign language, should be based.

The article deals with semantics of “red” and “yellow” color in V.V. Mayakovsky’s poetics. A lot has been written about “red” color; this color is associated with the revolutionary ideas and symbols, and it is often used in Mayakovsky’s early works. However, “yellow” color is used along with “red” one and, in our opinion, it has more complicated semantics. This color is important for the poet himself and his creative life (Mayakovsky’s yellow blouse), and for his early poems where we see the clothing elements of this color. According to folkloric ideas, it is the very color which is ambivalent; it correlates with the sun and a new life, and is attributed to mourning ritual symbolism. Folklore commentary to some details in the poems “A Cloud in Trousers”, “A Man” and “Fifth International” allows us better understanding the poet’s figurative and metaphorical system.

An appeal to the novel “Poor Lisa” by Nikolay Karamzin in an extensive cultural and historical context provides an opportunity to pose a question on the transmission of culture, its “vertical” dimension. This makes it possible to distinguish between the characters according to their cultural types: Liza is a person of “soil”, endowed with ancestors’ sacred knowledge, while Erast is a man of «culture» out of touch with the ground. In this regard, it proves to be relevant not so much the social inequality of the characters, as noted by the researchers, as their different worldview, attitude to nature, love, etc. Parallel with the Russian folklore tradition, lyrics, where the concept of «love» is represented through the lexemes «sweetheart», «soul», «heart» are also challenging in this respect. It is to this archaic knowledge, the heritage of centuries, that Liza, the main character, is attached. Separation from love, a broken heart in this context is equivalent to the loss of life. Based on such representations, Liza’s act is considered from a different angle: death is the only possible outcome for the heroine, for her heart life. In the typological aspect, it is fruitful to refer to Montaigne’s Essays, to his statements on heart life, which is to a great extent consistent with the life of nature. At that time, Montaigne’s philosophy was well known to Russian literary figures.The methodological basis of the study includes structural-typological, comparative, and system-complex (culturological) research methods, ensuring a comprehensive approach to the analysis of the artistic text and making it possible to show the national space in Karamzin’s novel. The results may be interesting to both philologists and cultural scientists, and can also be used in courses on the history of Russian literature.

The apophatic of Russian artistic culture is the broadest object of research. Today, an ancient concept “apophatic” radiates into all research humanitarian paradigms. The subject of the article is the ways of manifestation of apophatic reality in the cycle of poems “Persian motives” by S. Yesenin. The research methodology is reduced to the use of the ontohermeneutic analysis of a literary work, which is aimed at highlighting the philosophical issues of a poetic text. Drawing parallels with Russian folklore, a fairy tale, the poetics and aesthetics of which was well known by the poet, who studied folklore from collections of folklorists and collected it, seems productive. The Russian fairy tale is characterized by an apophatic search for “another kingdom”, ideal solar earth, which is personified by the author’s topos of Bosphorus in the Yesenin cycle. The apophatic tradition is characteristic not only of Russian verbal culture; it also manifests itself in Sufism, as an esoteric trend of Islam, in which the phenomenon of an invisible “light man” is highlighted. This observation is significant in the analysis of “Persian motives”, in which the Sufi tradition was latently expressed through the semiotically important gesture of “removing the veil” from the face of the beloved, equated in the axiological sense to “removing the mantle”, familiarizing with sacred knowledge in Sufism. In the Russian version of logocentrism, the teaching of Vladimir Solovyov about Sofia, widely known among the creative intelligentsia of the Silver Age, is associated with such apophatic image of the beloved. Research into world mythology by Robert Graves points to a possible relationship between Sophia and the Black Sufi Maidens. The research results are reduced to the following conclusion: the image of the ideal lover in Yesenin’s “Persian Motives” has Sufi roots and is associated with the highest mode of love, which is achieved through an ontologically significant search for “another kingdom” characteristic of the Russian fairy tale. This cycle presents a synthesis of different cultural and literary traditions, in which an apophatic tradition can be identified at the typological level.

This paper is a continuation of a large study in two parts on the metaphysics of labor in Russian culture, literature and philosophy. In the second part of the work, the team of authors, continuing to consider the phenomenon of labor in synchronism and diachrony, addresses а person and its attitude towards work in a postmodern society. The phenomenon of labor is analyzed in close connection with economic, moral, axiological spheres of life of the modern man. One of the main issues in a current situation of globalism is the issue of relationship between categories of “labor” and “leisure”. Can civilization be built on a foundation of leisure and not labor? Global transformation of the axiological status of labor has occurred in the culture of modern society. This process has got not only economic metrics associated with production and consumption, but also affects an axiological layer of culture associated with existential experiences of the individual. Man does not just work to satisfy his physical needs; the teleology of labor is always important, which implies answers to the questions: “For what does a person work?” and “For what is he ready to spend his free time of his life?” In a postindustrial, networked, consumer society, principles of the global Protestant work ethic, which constituted the foundation of capitalist civilization, no longer work. The study involved analytical, historical, descriptive and systematic methods of analysis.