В магистерской диссертации на материале повестей И. С. Тургенева “Ася”, “Первая любовь” представлены опыт лингвостилистического портретирования тургеневской девушки. Охарактеризован ментально специфический лингвокультурный типаж, описаны приметы индивидуально-специфической речевой манеры героинь Тургенева – Аси и княжны Зинаиды Засекиной. / In my master’s thesis on the material of novels “Asya”, “First love” by I. S. Turgenev are presented the experience of formal portraiture Turgenev girl. The mentally specific linguo-cultural type is characterized, there are described the signs of the individual-specific speech mannerisms of the heroines of Turgenev – Asya and Princess Zinaida Zasekinoy.

В настоящей магистерской диссертации описывается социолингвистический портрет Дональда Трампа, президента США. В работе обобщены лингвистические подходы к изучению языковой личности и описанию социолингвистического портрета, отражены основные характеристики речи его предвыборной кампании. Выявлена лингвокогнитивная и лингвопрагматическая специфика социолингвистического портрета Дональда Трампа. / The master’s theses contains a description of the sociolinguistic portrait of Donald Trump, president of USA. Fundamental linguistic approaches to learning linguistic personality and describing sociolinguistic portrait are summarized and main characteristics of speeches of the presidential campaign are reflected in the work. The author has identified cognitive and pragmatic specifics of sociolinguistic portrait of Donald Trump.

В данной магистерской диссертации рассматривается нелинейная модель взаимодействия иммунных и опухолевых клеток под воздействием химиотерапии. Данная модель является модификацией уже известной модели Кузнецова, в которой отсутствует лечение. В работе был проведен бифуркационный анализ в зависимости от коэффициента интенсивности лечения. В ходе анализа было выявлено три характерных состояния системы: "активная опухоль", "спящая опухоль" и "нулевая опухоль". Для равновесных и автоколебательных режимов найдены параметрические зоны сосуществования и определены сепаратисты, разделяющие бассейны соответствующих аттракторов. Найдены оценки параметра интенсивности химиотерапии, при котором возможно как удержание системы в режиме «спящей̆» опухоли, так и ее полное подавление. Для стохастической̆ модели описаны сценарии результатов воздействия случайных возмущений на режимы динамического взаимодействия иммунных и опухолевых клеток. Исследованы условия, при которых индуцированные шумом переходы играют позитивную роль, приводя к резкому сокращению опухолевых клеток. / We study a two-dimensional model of the dynamical interaction of immune and tumor cells under chemotherapy. This model is a modification of the well-known model which was studied by Kuznetsov but without treatment. A bifurcation analysis of the deterministic model was carried out depending on the parameter of the intensity of chemotherapy. It has been shown that the system admits three characteristic states: "active", "dormant", and "zero" tumor. For this multistable system, a description of the equilibrium and self-oscillating modes is given, and the basins of coexisting attractors are determined. We have found estimates of the doses of chemotherapy to keep tumor in the "dormant" regime or to suppress it completely. For the stochastic model, parametric estimates of the probability of transitions between the "active" and "dormant" or "zero" tumor modes were obtained, as well as the conditions under which random disturbances play a positive role, leading to a sharp reduction in the population of tumor cells.

Работа посвящена составления речевого портрета 46-го президента США Джо Байдена. Для этой цели в исследовании осуществляется анализ речевого поведения данного политика и выявление присущих его речи особенностей, делающих ее уникальной и узнаваемой. Материал исследования составили 100 источников, включающих в себя видеозаписи с публичными выступлениями Дж. Байдена и их расшифровки в период с вступления в должность президента США в 2021 г. по 2022 г. В первой части работы рассматриваются общие вопросы терминологии, вводится понятие речевого портрета и производится разграничение данного термина и смежных лингвистических понятий. Также в теоретической части работы рассматриваются подходы к речевому портретированию в отечественной и зарубежной лингвистике, а также основные принципы и модели описания речевого портрета. Особое внимание уделяется особенностям политического дискурса и специфике создания речевого портрета политика. Во второй части работы приводится краткий экскурс в биографию изучаемой личности, производится анализ речевого поведения Джо Байдена на основе модели описания речевого портрета политика, предложенной исследовательницей Е. В. Осетровой. Анализируются присущие речи данного политика черты – клише, фразы, конструкции, коммуникативные приемы, а также речевые промахи. По каждому параметру модели описания речевого портрета политика, по которой производится анализ, приводятся примеры конкретных речевых конструкций из речи изучаемой персоналии и их переводы, представленные в виде таблиц. На основе анализируемых материалов раскрывается образ, создаваемый политиком через речевой портрет. Результаты исследования могут быть использованы в лингвистике при дальнейшем изучении речевого портретирования и методики описания речевого портрета политика, а также при изучении личности Джо Байдена. / The purpose of the work is to study the speech portrait of the 46th US President Joe Biden. the speech behavior of this politician and the features inherent in his speech that make it unique and recognizable are analyzed in the study. The research material was compiled from 100 sources, including video recordings of public speeches by J. Biden and their transcripts during the period from the inauguration of the US president in 2021 to 2022. In the first part of the work, general issues of terminology are considered, the concept of a speech portrait is introduced, and a distinction is made between this term and related linguistic concepts. Also, in the theoretical part of the work, approaches to speech portraiture in domestic and foreign linguistics are considered, as well as the basic principles and models of creating a speech portrait. Special attention is paid to the features of political discourse and the specifics of creating a speech portrait of a politician. In the second part of the work, a brief digression into the biography of the studied personality is given. The analysis of Joe Biden's speech behavior is carried out based on the model of describing the speech portrait of a politician proposed by researcher E. V. Osetrova. The features inherent in the speech of this politician are analyzed – cliches, phrases, constructions, communicative techniques, as well as speech mistakes. For each parameter of the model examples of specific speech constructions from the speech of the studied person and their translations are presented in the form of tables. Based on the analyzed materials, the image created by a politician through a speech portrait is revealed. The results of the study can be used in linguistics in the further study of speech portraiture and methods of creating the speech portrait of a politician, as well as in the study of the personality of Joe Biden.

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В магистерской диссертации на основе аудиозаписей разговорных диалогов автором предпринимается попытка выстроить речевой портрет собственной матери. / Within this master degree thesis, the author attempts to build a speech portrait of her own mother, this portrait being based on audio recordings of spoken dialogues with her.

Cette thèse interroge les processus de communication qui autorisent la construction du microcrédit - pratique de prêts à des personnes pauvres - comme cause internationale. Un réseau d’acteurs nommé « Campagne du Sommet du Microcrédit » milite activement pour sa reconnaissance en tant qu’outil de lutte contre la pauvreté. L’étude de ses pratiques et des formes de son discours éclaire les conditions de possibilité logistique et symbolique de la conversion d’une technique financière en cause louable, endossable et universalisable.L’approche communicationnelle de cet objet se formule au croisement de deux axes théoriques qui forment les deux niveaux d’analyse d’un matériau composite - documentaire et ethnographique.Le premier axe concerne la démarche stratégique d’« entrepreneurs de cause » qui défendent une thématique et en accompagnent la trajectoire publique. Il questionne les conditions de la visibilité de la cause et met, ainsi, en évidence les contraintes d’une exigence de visibilité et les normes d’action et de justification qu’elle impose aux acteurs.Le second axe s’attache aux médiations symboliques - formes intercalaires, rémanentes et circulantes - qui incarnent la cause en-Deçà et au-Delà des déclarations d’intention. Il interroge, alors, sa lisibilité en élucidant les régimes de construction de deux figures nécessaires et complémentaires - le micro et le macroentrepreneur - et leurs effets de sens paradoxaux.La thèse confronte donc les « arrière-Pensées » des formes aux intentions stratégiques des acteurs qui les mobilisent et éclaire ainsi la mécanique d’inscription d’une perspective contemporaine du traitement de la pauvreté dans son « ordre de discours ». / Microcredit is a widespread financial tool, originally designed to lend small amounts of money to very poor people.This thesis questions the communication processes that enabled its construction as an international cause. Microcredit Summit Campaign is a network of organizations that strongly advocates for the acknowledgement of microcredit as a tool to fight poverty . The study of its practices and the forms of its discourse highlights the logistic and symbolic conditions required for the conversion of a financial theory into a praiseworthy, endorsable and universal cause.Drawing on a discourse and semiotic analysis of documented and ethnographical sources, the communicational approach of this topic links together two theoretical perspectives.On the one hand, it focuses on Microcredit Summit Campaign as a social movement organization and discusses the symbolic constraints imposed by a requirement for visibility in the public sphere. It influences their eligibility as spokeperson, their standards of action and their modes of justification.On the other hand, the thesis questions the legibility of microcredit as a cause. In this perspective, it analyzes the symbolic mediations that allow it to be embodied. To support the analysis, two compatible actors – “microentrepreneur” and “macroentrepreneur” - are strategically used in the discourse. The study of their characteristics reveals a paradoxical symbolic meaning and effect.Thus, the thesis confronts the "ulterior motives" of the semiotic forms used to support the discourse with the strategic intentions. In doing so, it sheds light on how a contemporary perspective on treating poverty is symbolically integrated in its " orders of discourse ".

Jean-Baptiste Isabey (1767-1855) connaît une carrière exceptionnellement longue qui s’étend de la Révolution au Second Empire. Après avoir exposé ses premières œuvres au Salon de 1791, cet élève de Jacques-Louis David s’impose sur la scène artistique du Directoire comme le premier dessinateur et miniaturiste de son temps. En s'inscrivant dans un contexte favorable à la diffusion de portraits de moindre coût et de moindre format, sa réussite peu commune rend compte de l'évolution des critères de la reconnaissance artistique à la fin du XVIIIe. Elle témoigne également de la promotion du statut social de l'artiste autour de 1800. Lié aux proches du clan Bonaparte sous la Consulat, Isabey est un des portraitistes de la période les mieux introduits auprès des élites. Son habileté à exploiter des sujets qui répondent aux goûts de ses contemporains permets de mesurer l'importance des relations mondaines dans la naissance et la diffusion des réputations artistiques au tournant du XIXe siècle. Entre 1800 et 1805, Isabey est l'auteur de plusieurs grands dessins de propagande qui scandent les principales étapes de la consolidation du nouveau pouvoir. Familier de la noblesse impériale, l'artiste accumule honneurs et commandes officielles au lendemain du Sacre. Sa réputation est associée aux portraits miniatures de l’Empereur destinés à la caisse des présents diplomatiques et à quelques-unes des plus célèbres représentations officielles de Marie-Louise et du roi de Rome. Ses responsabilités sont extrêmement variées et sa production considérable : il est à la fois peintre des relations extérieures, dessinateur du cabinet et des cérémonies et décorateur en chef de l'Opéra. L'étude de ce parcours pluridisciplinaire offre un champ d'étude remarquable, qui nous fournit bien des clefs pour comprendre la carrière et le statut des artistes de cour sous l'Empire. Après Waterloo, Isabey est mis à l’écart du pouvoir en raison de ses engagements bonapartistes. L'artiste exécute alors plusieurs caricatures et portraits qui le montrent prompt à critiquer la monarchie restaurée. L'analyse des effets de la résistance au régime royaliste dans le monde des arts entre 1815 et 1820 aide à saisir le sens de son engagement dans l'opposition. La période qui s’ouvre au lendemain des Cent-Jours est également fondamentale pour comprendre le parcours artistique d'Isabey et pour apprécier la place que lui assignèrent ses contemporains dans l’art de la première partie du XIXe siècle. Son abondante production, qui se décline en miniatures sur vélin, dessins, lithographies, aquarelles et peintures à l’huile le montre soucieux de l'évolution du goût. Elle met aussi en lumière la difficulté qu'il éprouve à conserver sa réputation de portraitiste après 1820. Cette thèse fournit pour la première fois un catalogue de l’œuvre d'Isabey / Jean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works

Le concept d’un « dispositif d’objets » présent dans le Portrait d’un marchand (v. 1530) de Jan Gossart et le Portrait du marchand Georg Gisze (1532) d’Hans Holbein le Jeune a pour objectif de porter un regard nouveau sur des œuvres trop souvent réduites à des notions d’esthétisme et de symbolisme. En utilisant une approche pluridisciplinaire à notre analyse, nous voulons promouvoir les objets comme acteur dominant dans la mise en scène de l’identité sociale du marchand au 16e siècle. L’association entre histoire de l’art et anthropologie des techniques permet la validation d’une scénographie de la culture matérielle marchande, ainsi que le dégagement d’un commentaire social inhérent à la proposition artistique de Gossart et Holbein. L’intérêt d’une étude orientée sur les objets promet également l’ouverture d’une réflexion sur la manière de concevoir le portrait d’occupation indépendamment de la valeur anagogique qui lui est généralement associée à la Renaissance. Le Portrait d’un marchand et le Portrait du marchand Georg Gisze attestent d’un moment ponctuel dans la production spatio-temporelle des portraits de marchands en Europe du Nord au 16e siècle. L’analogie confondante qui unit les deux œuvres prend son essence dans la thématique visuelle engendrée par le « dispositif d’objets ». / The concept of an object system, as found in Jan Gossart’s Portrait of a Merchant (ca. 1530) and Hans Holbein the Younger’s Georg Gisze (1532) aims to reevaluate works which are too often reduced to aesthetics and symbolism. By means of a multidisciplinary approach, the study aims to promote the objects represented in the paintings as the dominant actors in the staging of the social identity of the sixteenth-century merchant. The association between art history and anthropology of techniques allows the validation of a scenography of the material merchant culture, as well as the emergence of a social commentary inherent to Gossart’s and Holbein’s artistic work. Attention to an object-oriented study also allows for new insights into how to understand the occupational portrait independently of an anagogical value, which is generally attributed to the Renaissance period. The Portrait of a Merchant and portrait of Georg Gisze attest to a specific moment in the production of merchant portraits in northern Europe during the sixteenth century. The apparently disparate works are united by the object system represented in the paintings.