Учебное пособие 1901

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

opinion, a causal mechanism for the emergence of subtext as a linguistic phenomenon in an literature text.

In addition, it is worth noting that the fact that although thinking is based on different types of “understanding” is important, meaningful perception is based on its linguistic form (semantic). In the above-mentioned work, E. A. Petrova noted that “the thinking of a person is carried out in the closest connection with speech, and its results are recorded in the language” [7, p. 57].

In order to identify subtext values, all layers of thinking and perception (sensory, logical, linguocultural, etc.) must be translated into a linguistic, semantic form or, in other words, verbalized.

If following the logic of transformation of the acoustic image into the concept given in the "Course of General Linguistics" by Ferdinand de Saussure [8] (let's add that the form of perception of a visual image is similar to the perception of an acoustic image) then it should be noted that at the beginning of this process, information enters the brain from the senses. Further, in the process of speech communication at the stage of perception "from ear to brain" [8, p. 36], a “physiological transfer of an acoustic (or visual — A. E.) image occurs [8, p. 36], then "in the brain - the mental association of this image with the corresponding concept" [8, p. 36] and, therefore, at the stage of generating speech, all these actions occur in reverse order.

In other words, in the process of speech generation and perception, the coding and decoding of elements of the two systems occur: Meaning (conditionally, objects of reality) and Signifier (language signs). This coding method is fundamental for all languages, is the first level of coding and is the basis for the first, semantic, level of thinking. Note that visual perception is the main channel through which a person receives information from the outside world.

At this first level of sensory perception, when a person only sees an object, but does not yet understand and does not name it, information comes in the form of “unconscious” according to Freud [9]: “... the psychic prerequisites revealed by analysis, the connections into which we introduce them due to interpretation, are unconscious, at least until we make them conscious for the patient through analytical work” [9, p. 278]. If this observation is applied to an individual's perception of subtextual meanings, then a certain analogy can be drawn: in the case of decoding a language message, a certain picture of reality (image) arises in the mental representation, which, being displayed in consciousness, recreates sensory perception (visual, emotional, etc. ), but does not nominate the phenomenon itself. In other words, figurative subtextual meanings in literary texts are a special way of using linguistic signs to transfer cognition from the field of explicit meaning formation to the area of perception of the unconscious. This particular method consists in changing the direction of the coding process itself, because instead of direct coding — the assignment of a name to a specific object — the reverse is the process of turning language signs into unconscious “figurative” representations.

R. R. Khalimova speaks about this in his work, describing the principle of Ericksonian hypnosis (in our opinion, this principle fully corresponds to the principle of language modeling in a literary text), where the hypnotist creates information gaps in the patient’s perception and these “conscious defaults” make “ … The patient’s mind fills the gaps with material taken from memory ”[10, p. 121]. N. V. Pushkareva mentions this in his work: “To identify implicit information, it is necessary to restore the lacunae at a certain level of language” [4, p. 58].

Thus, we can say that the subtext is the information present, but not verbalized in the artistic

text.

104

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

This type of information, since it is still present in the text, can be extracted and verbalized with a certain cognitive effort on the part of the addressee. In the process of verbalization, there is a nomination of those hidden meanings that can be found in a certain text space. This space is most faithfully characterized in the work of R. Barth "S / Z" [11] where he identifies the reading unit "lecture", which we define as a subtext unit.

We can state that a lexia as a unit of subtext based on the definition of a lecture cited in our article “Lexia as a textual unit of rhetorical poetics”. “It can consist of any number of words, starting from one (where the subtext is expressed connotatively - with an additional meaning, for example , evaluation value) to the set - up to the implicit (non-nominal) value of the whole text ” [12, p. 283]. Thus, "... any segment of the text in which a certain secondary - unnamed - sense arises" [12, p. 283], we, classifying it as a unit of subtext, will be called a lecture.

Let's note that the size of a lecture depends on the individual level of perception and knowledge of each particular reader. So, for example, in the book of N. A. Buss there is a very characteristic observation: “The child can understand all the words in the fable, but the motives of the actions of the characters are hidden from him, therefore he often only half comes to understanding the thought in the fable” [13, p. 56].

In other words, in the perception of a naive addressee who does not possess a high level of knowledge, mostly explicit meanings of a literary text are displayed, and most of the implicit semantics remain beyond its perception.

In turn, to determine the value of a lecture, a certain categorization of the extracted semantic content is required. And here we will begin to use the system of codes proposed in the same work by R. Barth “S / Z” [11], which is inherent in the specifically organized linguistic object “artistic text”.

The meaning of the code can be considered from the point of view of cognitive linguistics, according to the method of categorization of reality, which is adopted in a particular culture. In the work of R. Barth “S \ Z” [11] this value is embodied in five codes: “five codes, five voices - Voice of Empyria (pro-retreat), Voice of Personality (seme), Voice of Knowledge (cultural codes), Voice of Truth (hermeneutism) and the Voice of the Symbol ”[11, p. 69].

Summarizing information about the codes based on the analysis of their characteristics in this work by R. Barth [11], we can determine that action (pro-sayretic) is the code of some action (event) promoting the narration; seminal - by the code of the complicated meaning that most closely matches the definition of the subtext itself; referential - the code of knowledge (scientific, everyday, cultural, etc.); hermeneutic - can be considered as a riddle code (it contains elements of thematization, formulation, delay (retardation) and answer) and finally, symbolic - is a code that translates the literal content of a lecture into a zone of generalization, i.e. character.

All barteer codes by their nature, of course, are language codes. But the way this coding is very interesting. In essence, lexies are fragments of text that carry an additional, non-nominal (non-verbalized) secondary meaning.

The language methods of modeling the values of lexies and codes are the linguistic categories of implication, connotations, context (intralinguistic - as intratext, and extralinguistic as external with respect to the linguistic expression of the situation, situation, etc.), noted in many works on the subject of subtext, external - as background knowledge of the addressee, and intratextual - as information that was contained in the previous text) [2], [3], [4].

105

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

In the same work of Roland Bart, the meaning extracted from a certain text is presented in the image of the underwater mountain range, which is similar to the bottom base as “the center of possible ... meanings over which the discursive flowing flows” [11, p. 57].

If we continue the analogy, then in this “flow” and “float”, colliding, connecting and layering on each other, the lectures and codes. In this “stream”, as in any river, there are different levels of depth. And if the stream is “dense”, then up to four codes can be present at the same time.

If you go back from allegory to reality, you can see that there are 3 levels of subtext, which are determined depending on the complexity of its extraction. We assume that the complexity of the extraction, in turn, depends on four characteristics: 1) on the size of the lecture - that is, on the actual volume of the text space, (the smaller the volume, the easier it is to distinguish the additional meaning; 2) from the semantic distance between the components of the meaning, which is determined in accordance with the formal method described in the study of A. I. Novikov and E. I. Yaroslavtsevа: “On the mutual arrangement of certain elements ... in a certain space, where some are closer to each other than others” [14, p. 14] (the semantic distance can be present both in one word as the distance between the elements of the meaning, and in fragments of text that are remote from each other, in which the conjugate subtext meaning is found); 3) on the number of codes in one lecture (the more codes - the more difficult, and, by analogy with depth, the deeper level of subtext), here all categories related to the subtext are meaningful: connotation, implication, context and presupposition; 4) from the level of the background knowledge of the addressee, that is, from the external presupposition as the all-background knowledge of the addressee.

Note that at each level of subtext, the presence of all forms of subtext values (codes) and their combinations is determined, but the use of language methods is differentiated in a certain way depending on the level.

We refer to the first level: 1) all lectures represented by a single word or phrase (including a phraseological turn) with an additional meaning of the second plan (connotation); 2) all the figures of speech and trails; 3) some syntactic constructions; 4) certain forms of implicit values expressed using paraverbal signs (as defined by V. V. Borisova and S. S. Shaulov: “... the meaning of a literary text is expressed not only verbally, it is made up of other - paraverbal and non-verbal - meanings of the text” [15, p. 15]); such values, in our opinion, are expressed in the text as follows: a) punctuation marks, which are, firstly, expression markers, secondly, as signs that do not have their own semantics, reflect uncertainty and (or) have many possible meanings (exclamation marks, question marks, ellipses), thirdly, they attach additional importance by implicating the new meaning of the above quotation (quotation marks); b) optional signs of special text markup - highlighting in special font (italic, bold), facsimile image (diagrams, illustrations, etc.). It seems justified to use the term “paraverbates”, proposed by A. P. Kostrikina, in the future with respect to such marks (punctuation and special markup of the text), in her work “Artistic Image and Paraverbates”, where she defines these signs: “non-verbal means close to verbal (verbal) and necessarily involving the communicative situation” [16, p. 55].

At the first subtext level, the following language methods are used to model implicit meaning: connotation, implication, and intralinguistic context. The absence of a presupposition as a linguistic way of modeling the subtext in this case seems to be quite reasonable, since such values are determined precisely by the small semantic distance between the elements of the

106

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

meaning, and provided a high degree of representation in linguistic science. In this case, the semantic distance is defined as the minimum - two values in one word or in the closest context.

Ways to create such values in a literary text can be divided into two types: 1) by the presence in the text display of certain characters (markers, indexes) that do not contain their own semantics, but coordinate perception in the desired direction, 2) with the help of lexical units that have implicit semantics that are closest to an explicit expression (a similar meaning is observed in connotation (as a single complementary concept is fixed to one explicit expression) and in implication (as in a combination of two meanings in one word: trails, idioms and speech patterns). Such language units differ from an explicit expression only in the peculiarities of their perception, when the addressee perceives two values at once - direct, as explicit language signs, and secondary - portable - but sufficiently well-known due to frequent use (i.e. in the case of, for example, phraseological units) or consisting of components with lexical meanings (paths) known to the addressee. In this case, the secondary value is most often perceived at the non-verbal level, almost intuitively, therefore it is classified as implicit. We illustrate the above with examples taken from the text of Fyodor Dostoevsky’s novel Crime and Punishment [1 *].

“What dirt can, however, my heart! The main thing: dirty, dirty, disgusting, disgusting! … ” [1 *, p. 47].

In this lecture, there is a whole range of ways to express implicit values. First, the paraverbates: exclamation marks - in this case expressing the values of expression. The colon in this context is the paraverbatic elliptical design, the ellipsis conveys the meaning of “wordless continuation of feelings of regret and disgust.” Secondly, this lecture uses the metaphor “dirt” which contains the component of the portable meaning “disgust”, and, third, the method of grading: “dirty, dirty, disgusting”.

Thus, we can determine that the first level of subtext is the most easily extracted implicit value.

This is due, firstly, to the close semantic distance between the explicit and implicit components of the meaning, secondly, the presence of indexes and markers in the text display, which facilitate the coordination of perception in the necessary direction thirdly, the fixedness of this (additional, jkiyu) meaning in the main lexical meaning as its component, which does not come to the forefront of perception. The main language ways of forming subtext at the first level are implication, connotation and context.

The second level of subtext is characterized by a greater, compared to the first, complexity of extracting an implicit value. Here, the subtext meaning can be formed not only on the basis of the implication of additional components (including connotations) in a single word or the closest context, but also on the basis of rethinking completely, at first glance, unmarked language units.

This kind of values refers to the second level of subtext, since to extract it, it is necessary not only to unite the set of text elements into a single semantic whole, but also to have background-general knowledge of the addressee, which allow finding the basis for such a union, defined according to the context.

Thus, the second level of subtext, as mentioned above, is due to an increase in the size of the text space (semantic and textual distance) necessary for the appearance of an implicit value. We are talking about lectures, the size of which is more than one word (phrase).

107

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

For example, in the text segment of the novel “Crime and Punishment” by F. Dostoevsky “And Mikolka swinging another time, and another blow with all his might falls on the back of the unfortunate nag. It all falls to the bottom, but jumps and pulls, pulls out of all the last forces in different directions to take out; but from all sides they take her to six whips ” [1 *, p. 94] four lectures can be distinguished.

In the first lecture - “And Mikolka swinging another time, and another blow from the whole swing falls on his back” [1 *, p. 94] - you can extract the value of the action code (Mikolka's actions are being visualized).

The second lecture "... unfortunate nag" [1 *, p. 94] - contains the seed code, since the presence of connotations in both words reproduces not just a skinny and ugly horse (“nag”) in the mental representation, but also conveys to the addressee a sensual emotional experience “unhappy”, as a result this artistic image has an additional - non-nominated meaning "a sense of pain and compassion for an animal that does not deserve such treatment."

The third lecture “It all settles with all butt, but jumps up and tugs, tugs from all the last forces in different directions to take out” [1 *, p. 94] - contains, first of all, an action code - action visualization - the mare “settles, jumps, jerks”, besides, on the basis of the previous and surrounding context (“from the last forces” “in different directions”, “to take out”), "In despair, trying to fulfill the requirements of the owner and avoid pain and suffering."

And finally, the fourth lecture "but from all sides it is taken in six whips" [1 *, p. 94] - contains not only an action code - a horse is beaten from all sides with whips, and not only seminal (which can be nominated by the following verbal expression: will pity her "), but also hermeneutic, which appears after extracting the subtext of the three previous lectures and can be nominated as the question that arises in mental representation “why are people so cruel?” These features of the fourth lecture allow us to talk about the next, third level of subtext.

The third level of subtext, based on the above criteria, is determined as the most difficult to extract meaning and to translate it into an explicit expression (nomination).

In this case, we say that the difficulty of extracting these meanings lies, firstly, in the increased capacity of the “artistic image”, that is, in combining the values of three or four codes in one text space.

The difficulty of extraction can be associated with a higher degree of coding, when an additional meaning arises from the subtext already extracted from an explicit expression.

That is, a third degree of subtext is extracted (the first degree is a direct value, the second degree is the subtext itself, and the third degree is, respectively, the subtext that appears on the basis of rethinking the already extracted subtext values).

For example, in the lecture “At the same moment, he himself realized that his thoughts sometimes interfered and that he was very weak: the second day, as he had eaten almost nothing at all” [1 *, p. 42]. Secondary modeling (second degree) consists in the subtext of the action code: comprehension of one's own disease state (“thoughts get in the way” and “very weak”). The superstructure code (third degree) is seminal: “poverty”, due to inter-textual presupposition, since, following the logic of presentation and the repeated meanings of previous lectures, the phrase “did not eat anything at all” cannot be understood as “sick and not eating” or I fell in love and did not eat, ”that is, all other reasons, except poverty, in this text become impossible.

“He was so badly dressed that a different, even familiar person, would have advisable to go out in such rags to the street in the afternoon” [1 *, p. 42]. The second degree of coding is the

108

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

referential code: ordinary knowledge “appropriate in society”. The superstructure code is semen: “poverty”. The extraction of meaning, as in the previous lecture, is based on the intra-linguistic context and in-text presupposition.

The difficulty of extraction can be connected with the inability to find certain values, for example, to find answers to some questions arising in the process of reading the text. If at the second level of subtext, the hermeneutic code is structural and consists of lexies in which not only the question is formulated and themed, but also the answer, besides it contains numerous means of retardation (delaying the answer) [11], then in highly artistic texts, the questions of “open hermeneutics” have no answers in a specific artistic text and are questions stimulating the process of cognition, that is, forcing the addressee to look for answers in other sources: in scientific, philosophical texts, or in reflections on life and its meaning. It seems that one of the main conditions for the formation of a subtext at this level is the presence of external presupposition (the general background knowledge of the addressee).

Let's note also that the works of F. M. Dostoevsky in relation to the hermeneutic code are not quite traditional. F. M. Dostoevsky uses the reader's aspiration for easy reading and applies the external plot structure of the detective story, but at the same time he includes in his texts many ideological meanings that do not correspond to the superficial reading of the plot, and thus implicitly conveys to the addressee a lot of knowledge. Thus, the question “who and how killed the old woman lender” is not the main issue in the novel Crime and Punishment. It is revealed in the first chapter of the novel, and the question of the structural hermeneutical code (detective) “will be caught or not caught”, retreats to the background. At the same time, ideological questions arising in the process of reading the text of F. M. Dostoevsky (for example, about the possibility or impossibility for a person to commit a crime, about the inevitability of punishment if not mundane then internal, spiritual torment, etc.) do not receive an answer in the text but forced to look for it in other sources (in other texts or in reflections on life).

For example:

“So, truly, those who are led to execution stick their thoughts to all the objects that they meet on the road” [1 *, p. 109]. The question “how is it to follow the penalty?” Cannot get a definite answer in the text and remains in consciousness as philosophical, requiring a different level of knowledge, and forcing to strive for this level. A similar question is also contained in the lecture: “Suddenly he was interested in: why, in all big cities, a person is not so much a matter of necessity, but somehow especially inclined to live and settle in such parts of the city where there are no gardens fountains, where the dirt and stench, and all the filth” [1 *, p. 109].

And as one of the most vivid and illustrative, almost explicit, examples of such questions can be cited lecture:

“However, all these questions were not new, not sudden, but old, urgent, long-standing. It has long been as they began to torment him and tormented his heart. All this longing melancholy was born long ago, it grew, accumulated and recently matured and concentrated, taking the form of a terrible, wild and fantastic question that tortured his heart and mind, irresistibly demanding solution” [1 *, p. 82].

109

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

Conclusion

Thus, we can state that the subtext as a linguistic phenomenon in an artistic text exists in it as specific information transmitted to the addressee in the form of an artistic image (at the level of “unconscious” non-verbalized perception) and, when extracted, can be divided depending on: 1) the presence of a certain semantic and textual distance between the components of the meaning; 2) the number of implicit meanings present in a particular text segment - lexies; 3) external presuppositions as the general background knowledge of the addressee.

Based on these criteria, we have identified three levels of subtext.

At the first (easiest to extract) level are small (one or two words, or the closest intralingual context) language units with implicitness, which is due to the addressee's language competence (connotation as a value assigned to the concept in the second plane of perception; by implication, as a compound in one text unit, of two different, but known to the addressee values; context as an implicit meaning, which is formed in new phrases or with the help of para-verbal expressions of meaning: punctuation, text highlighting, etc.) Such values are quite easily determined precisely because of the small size of the lecture and the small semantic distance between the elements of the meaning.

At the second level, there is a complication of coding methods and, as a result, an increase in text volume and semantic distance. Second-level lexies have a large size, the semantic distance in them can be significant, especially in lectures of action and hermeneutic codes, which are structural and structure-forming in a literary text. In the process of forming the implicit values of the second level of subtext, almost all methods are used: connotation, implication (implicational, implicature), extralinguistic and intralingual context. An important role is played at this level by the category of presupposition (in-text and external as the general-background knowledge of the addressee).

At the third level of subtext are the largest and most difficult to extract values of text education. Figuratively, this level can be called “super semantic”. It includes, firstly, the meaning of the entire text (its idea as a single informational message), secondly, some values of superimposed codes (in the third degree of coding), thirdly, the connection in one lecture of three or four types of code values, and, fourthly, all the emerging issues of general hermeneutics. It seems that one of the main ways modeling of the subtext of this level is the external presupposition (general background knowledge of the addressee).

References

[1]Volovoj G.V. Hudozhestvenny`j podtekst kak sredstvo raskry`tiya xarakterov geroev

vpovestyax «Be`la» i «Maksim Maksimy`ch» v romane M.Yu.Lermontova «Geroj nashego vremeni»: dis. … kand. filol. nauk: 10.01.02 / Volovoj Gennadij Viktorovich. – Maxachkala. 2003. - 114 s.

[2]Chuneva L.Yu. Smy`sloobrazuyushhaya funkciya podteksta v literaturnom proizvedenii: dis. … kand. filol. nauk: 10.01.08 / Chuneva Lyudmila Yur`evna. - Tver`. 2006. -180 s.

[3]Kajda L.G. Kompozicionny`j analiz xudozhestvennogo teksta. M.: Flinta, 2000. – 152 s.

[4]Pushkareva N.V. Yazy`kovoe vy`razhenie podtekstovy`x smy`slov v prozaicheskom tekste (na materiale russkoj prozy` XIX-XXI vv.): dis. … kand. filolog. nauk: 10.02.01 / Pushkareva Natal`ya Viktorovna.- Sankt-Peterburg. 2013. – 388 s.

110

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

[5]Vinogradov V.V. Izbranny`e trudy`. O yazy`ke xudozhestvennoj prozy`. M. Nauka. 1980. – 360 s.

[6]Gal`perin I.R. Tekst kak ob``ekt lingvisticheskogo issledovaniya. Otv. red. G.V.Stepanov. Izd. 8-e. M.: Knizhny`j dom «LIBROKOM», 2014 – 144 s.

[7]Petrova E.A. Istoki i vektory` logiko-kognitivnogo napravleniya v izuchenii yazy`ka: monografiya. Ufa: UYuI MVD Rossii, 2013. – 128 s.

[8]Sossyur Ferdinand de. Kurs obshhej lingvistiki. Per s fr. / Pod red. i s primech. R.O. Sho. Izd. Stereotip. – M.: Knizhny`j dom «LIBROKOM», 2013. – 256 s.

[9]Frejd Z. «Vvedenie v psixoanaliz: lekcii» SPb: Azbuka, Azbuka-Attikus, 2015, - 480 s.

[10]Xalimova R.R. Yazy`kovy`e sredstva realizacii pragmaticheskoj ustanovki v tekstax pryamoj i skry`toj reklamy`: dis. … kand. filolog. nauk: 10.02.01 / Xalimova Rozaliya

Ramilevna. - Ufa. 2011.- 188 s.

[11]Bart R. S/Z. Per. s fr. 2-e izd., ispr. Pod red. G. K. Kosikova. — M.: E`ditorial URSS, 2001. - 232 s. Aleksandrova M.I. Podtekst v povestvovanii ot pervogo licza: kognitivno-prag- maticheskij aspekt: dis. … kand. filol. nauk:10.02.19 / Aleksandrova Mariya Igorevna. - Rostov- na-Donu. 2013.-166 s.

[12]Erokhina A. M. Leksiya – tekstovaya edinicza ritoricheskoj poe`tiki.// «Istorich. i social`no-obrazovatel`naya my`sl`». – Krasnodar. T.7 №6. Chast` 1. – s.281-287.

[13]Buss, N.A. Semanticheskaya osnova vzaimoponimaniya / N.A. Buss // Semantika i social`naya psixologiya: sb.statej. – Frunze.: Izdatel`stvo «Ilim», 1976. – s. 49-57.

[14]Novikov A.I. Yaroslavceva E.I. Semanticheskie rasstoyaniya v yazy`ke i tekste. M.: Nauka, 1990. – 136 s.

[15]Borisova V.V., Shaulov S.S. Hudozhestvenny`j tekst: aspekty` analiza i interpretacii

vshkole i vuze: uchebnoe posobie. – Ufa: Izd-vo BGPU, 2014. -192 s.

[16]Kostrikina A.P. Hudozhestvenny`j obraz i paraverbaty`. Tekst kak edinicza filologicheskoj interpretacii: sbornik statej IV Vserossijskoj nauchno-prakticheskoj konferencii s mezhdunarodny`m uchastiem (25 yanvarya 2014 g.. g. Kujby`shev). Novosibirsk: Izd-vo OOO

«Nemo Press», 2014. – 324 s., (s.54-66).

Analysed sources

[1*] Dostoevskij F. M. «Prestuplenie i nakazanie». M.: Izdatel`stvo «Xudozhestvennaya literatura», 1968. - 559 s.

111

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

UDC 37

INTERCULTURAL COMPETENCE AS A FACTOR OF ADAPTATION OF FOREIGN STUDENTS TO THE TERMS OF TRAINING IN A RUSSIAN UNIVERSITY

L.N. Solodovchenko, S.A. Solodovchenko

__________________________________________________________________________________

Voronezh State Pedagogical University

PhD in Pedagogy, Associate Professor Head of the English Language Department Lyudmila N. Solodovchenko

e-mail: lsolod08@mail.ru

Voronezh State Pedagogical University

PhD in History, Associate Professor of the Social and General Pedagogy Department Svetlana A. Solodovchenko

e-mail: svetlana-asa@mail.ru

____________________________________________________________________________________________

Statement of the problem. The article analyses the difficulties of intercultural communication of foreign students, starting their training in Russian universities. Some ways of forming the intercultural competence skills of foreign students studying at the Voronezh State Pedagogical University are considered.

The results. Some problems of intercultural communication of foreign first-year students with representatives of the university educational process are revealed. The causes of difficulties in intercultural communication of the main participants of the educational process are analyzed. The ways of forming skills of intercultural competence during foreign students’ adaptation to the conditions of study in a Russian university are recommended.

Conclusion. The formation of the intercultural competence skills of foreign students, beginning their training in Russian universities, determines the content of adaptation process and aims at overcoming a range of problems (psychological, physiological, education, communicative, socio-cultural, legal, social and domestic) by all participants of the educational process.

Key words: intercultural communication, intercultural competence, adaptation, participant of the educational process, socio-cultural environment, educational environment, foreign student, educational process at a University.

For citation: Solodovchenko L.N., Solodovchenko S.A. Intercultural competence as a factor of adaptation of foreign students to the terms of training in a Russian university / L.N. Solodovchenko, S.A. Solodovchenko // Scientific

Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2018. - №4 (23). – P. 112-121

Introduction

The effectiveness of Russian higher education institutions is assessed on the basis of indicators characterizing different areas of their activity. The indicator of the effectiveness of the university in international activities is the percentage of foreign students to the total number of students. This means that universities are interested in accepting an increasing number of foreign students to study in various educational programs. In accordance with the State Program of the

Russian Federation “Development of Education” for 2013–2020, the number of foreign students entering Russian universities should increase to 10% by 2020. [1]

The Voronezh State Pedagogical University (VSPU) may serve as an example. For the last few years it has seen positive dynamics of growth in the number of foreign students. The

__________________________________________

© Solodovchenko L.N., Solodovchenko S.A., 2018

112

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (23), 2018 ISSN 2587-8093

growth of foreign students in the VSPU is presented in Figure 1.

Figure 1. Growth dynamics of foreign students in the VSPU

At the Voronezh State Pedagogical University foreign students are trained in undergraduate, graduate, postgraduate programs as well as in academic exchange programs. Citizens of different countries are trained in our university (See fig. 2).

Figure 2. Distribution of foreign students by citizenship

As the example shows, today the university faces the task of effective integrating foreign students into the Russian educational environment. And in this case, the first year of study - a year of adaptation - is of particular importance. It is during this period that foreign students master intercultural communication as a means of their educational adaptation in a completely different cultural environment. The main contacts of a foreign student in a Russian university can be represented as follows (See fig. 3).

113