The article explores the argumentative nature of political discourse, which, according to the authors, becomes the key to the analysis of the communicative strategy of persuasion. The aim of the research is a comparative analysis of speeches by Russian and Chinese politicians, identifying similarities and differences in the use of rhetorical devices when implementing the persuasion strategy, one of the key strategies of political interaction. The material for the study comprises the speech of experts from the political talk shows "60 Minutes" and "这就是中国" ("This is China"), whose communicative goal can be defined as an attempt to adjust the audience's attitude towards the issue under consideration, influence the addressee's opinion, and garner support for their ideas and beliefs. Communicative devices such as appeals to authority, appeals to values, references to historical experience, reliance on inherently true judgments (proverbs, sayings, aphorisms), and the presentation of statistical data are examined. The research is based on the linguistic methods of contextual and linguopragmatic analysis. A comparative analysis of the communicative devices used to implement the persuasion strategy in the Russian and Chinese media spaces allows for the identification of similarities and differences in the communicative tactics employed by representatives of both states to shape public opinion and control the information flow. Based on the conducted research, it was revealed that in Chinese political discourse, experts typically seek to use logic and facts to substantiate their arguments; talk show participants actively quote the words of prominent politicians and historical figures, and also refer to significant cultural concepts (unity, family). In turn, the speeches of participants in Russian political discourse are often oriented towards emotional impact rather than clear and logical argumentation. In Russian-language political discourse aimed at persuading an audience, one can often encounter individual authorial metaphors, instances of irony, and stylistically colloquial vocabulary. Attention is drawn to the cultural factors influencing the formation of communication styles and oratorical traditions in each country. The research results may be useful for understanding the principles and methods of persuasion in the political rhetoric of different cultures and can contribute to a deeper analysis of the interconnections between language, culture, and political communication. The author declares no conflicts of interests.
The fixed phrase scheme "To li delo + N1!" is examined using the methodology of the grammar of dynamic transformations of language. Its relevance stems from the uniqueness of this fixed phrase scheme, which represents a challenging object of study within the theory of syntactic phraseology, as evidenced by the absence of relevant scholarly works. The aim is to describe this fixed phrase scheme in terms of the theory of phraseologization and the theory of grammaticalization. The fixed phrase scheme under study is examined diachronically and synchronically (in etymological, structural-semantic, paradigmatic, syntagmatic, and functional aspects). Descriptive and transformational methods are employed, along with methods of componential analysis of the propositional sentence structure, syntactic modeling, phraseological, grammatical, and etymological analysis, among others. The empirical material was extracted through continuous sampling from literary works of the 19th-21 st centuries. It has been established that the fixed phrase scheme "To li delo + N1!" was formed on the basis of a syntactic construction with the disjunctive conjunction to li..., to li... over several stages. The compound fixed component to li delo is entirely deactualized. Cases of its structural variation (omission of the lexeme delo) have been identified, as well as the partial actualization of the internal form of the lexeme delo and its transition to the status of an obligatory variable component. The word order of the construction's components is fixed; expandability is rare. However, the fixed phrase scheme can enter into subordinative relationships with other sentences, functioning as the main clause of a complex sentence. The fixed phrase scheme is characterized by the presence of partial idiomaticity of the dictum and complete idiomaticity of the modus. This fixed phrase scheme is agrammatical. This is manifested in the omission of the second part of the disjunctive conjunction to li... to li., as well as the second coordinate part of the sentence; in the violation of lexico-grammatical combinability of the obligatory fixed and variable components. The fixed phrase scheme is non-derivative, confirming the validity of its classification as a phraseological fusion. All source constructions and resulting constructions are described for the first time in the aspect of grammaticalization: a set of features and their degree of grammaticalization are established. The number of prerequisites for grammaticalization in the resulting fixed phrase scheme is approximately twice as high as in the source construction, and the grammaticalization index is three times higher. Based on the fixed phrase scheme "To li delo + N1!", the communiceme To li delo! was formed, which within its class of syntactic phraseological units also belongs to fusions. The tools of the grammar of dynamic transformations of language were applied to communicemes for the first time. It has been established that it possesses an even greater number of prerequisites for grammaticalization and a higher grammaticalization index. Communicemes represent the endpoint in the development of processes of phraseologization and grammaticalization of syntactic constructions. Thanks to the chosen research approach, one of the pathways of phraseologization and grammaticalization of syntactic constructions has been studied. This provides insight into the formation of both individual syntactic constructions and the language system as a whole. The author declares no conflicts of interests.
The study compares the concepts of MODESTY: skromnost’ in Russian and 谦 in Chinese within the respective linguistic worldviews, based on a linguistic experiment with native speakers of Russian and Chinese. The object of the study is the lexical representatives of the concepts of skromnost ’ and 谦 identified during the experiment. The study focuses on the linguacultural specificity in the structure of these equivalent concepts in the Russian and Chinese linguistic worldviews. The study is based on the results of a linguistic experiment conducted in 2018 and 2022 among two groups of respondents - native speakers of Russian and Chinese. A total of 120 respondents took part in the experiment: 60 Russians and 60 Chinese. The questionnaire included four tasks aimed at a comprehensive approach: a chain associative experiment aimed at identifying the main composition of cognitive features of the concept; defining a wide nominative field of the concepts skromnost’ 谦 identifying figurative features within the composition of the concepts as well as pos sible stereotypical and prototypical ideas about the bearer of modesty; and verifying the data obtained by identifying the main areas of activity with which native speakers associate manifestations of modesty. The experiment showed that the concepts skromnost’ and while sharing core conceptual features (ideas about a person with a certain set of internal qualities - silence, restraint, shyness - and a typical appearance), have a different structure in the area of figurative and value features. Thus, the Russian concept of skromnost ’ has an ambivalent structure, combining a positive perception of a person with a negative one (simplicity, poverty, lack of originality). The Chinese concept 谦 is built on a stereotypical idea of a person shaped by Confucianism. The formation of different stereotypes of a modest person (the Russian image of a modest girl and the Chinese image of a middle-aged man) and different conceptual metaphors in the structure of the concept (the image of a grey mouse for Russians and hollow bamboo for the Chinese) are associated with differences in the set of nuclear and perinuclear features. In addition, the influence of the Confucian worldview dominant and the fixation of a strictly defined prototypical image of a modest person in Chinese culture lead to a somewhat smaller variety of means of representing the concept, albeit with a significantly larger number of etiquette formulas and proverbs. The authors declare no conflicts of interests.
The article examines the diary entries of Vera Bunina, the wife of the famous writer Ivan Bunin, for March-April and December 1933, which deal with Germany, where Adolf Hitler came to power in January 1933. The author shows that the entries for March-April mainly reflect socio-political discussions at the Villa Belvedere (France, Alpes-Maritimes). Participants in these discussions included Ilya Fondaminsky (a political figure and co-editor of the Paris journal Sovremennye Zapiski), the philosopher Fyodor Stepun, Ivan Bunin, Vera Bunina, and the young writers Galina Kuznetsova and Leonid Zurov. Vera Bunina’s own authorial position (in the form of comments) is almost absent from these entries. In contrast, the diary entries for December 1933, made during Ivan Bunin’s trip to Stockholm to receive the Nobel Prize and back to Paris (accompanied by his secretary, j ournalist Andrei Sedykh [Y akov Tsvibak], Vera Bunina, and Galina Kuznetsova), are purely subjective, as they reflect the personal impressions of these individuals. These entries are mostly everyday sketches, landscapes, and regional studies “from nature”. On their journey, Ivan Bunin and his companions passed through Hanover and Hamburg, stopping in Dresden and Berlin on the way back. Their attitude toward Germany - which they had discussed extensively in the spring - and which they now saw with their own eyes, can be described as generally positive, perhaps because it was determined primarily by their aesthetic sense and nostalgia: they liked German cleanliness, order, appearance, courtesy, punctuality, the winter scenery outside the car window, the restaurant entourage in Hamburg, and the general atmosphere, which reminded them of pre-revolutionary Russia. Based on the diary entries presented in the article, the author concludes that in 1933, Ivan and Vera Bunin and their immediate entourage (with the exception of Ilya Fondaminsky and Fyodor Stepun, who were staunch opponents of National Socialism) did not see German Nazism as a threat to the stability and security of Europe and, consequently, did not anticipate the global military and political cataclysms that were initiated by the Hitler regime. This is largely because the Bunins belonged to that very significant part of the Russian emigration that considered National Socialism a more or less effective alternative to Bolshevism. The author declares no conflicts of interests.
The study compares the concepts of MODESTY: skromnost' in Russian and (sic)i in Chinese within the respective linguistic worldviews, Abased on a linguistic experiment with native speakers of Russian and Chinese. The object of the study is the lexical representatives of the concepts of skromnost' and (sic)identified during the experiment. The study focuses on the linguacultural specificity in the structure of these equivalent concepts in the Russian and Chinese linguistic worldviews. The study is based on the results of a linguistic experiment conducted in 2018 and 2022 among two groups of respondents-native speakers of Russian and Chinese. A total of 120 respondents took part in the experiment: 60 Russians and 60 Chinese. The questionnaire included four tasks aimed at a comprehensive approach: a chain associative experiment aimed at identifying the main composition of cognitive features of the concept; defining a wide nominative field of the concepts skromnost' /(sic); identifying figurative features within the composition of the concepts as well as possible stereotypical and prototypical ideas about the bearer of modesty; and verifying the data obtained by identifying the main areas of activity with which native speakers associate manifestations of modesty. The experiment showed that the concepts skromnost' and (sic), while sharing core conceptual features (ideas about a person with a certain set of internal qualities-silence, restraint, shyness-and a typical appearance), have a different structure in the area of figurative and value features. Thus, the Russian concept of skromnost' has an ambivalent structure, combining a positive perception of a person with a negative one (simplicity, poverty, lack of originality). The Chinese concept (sic)is built on a stereotypical idea of a person shaped by Confucianism. The formation of different stereotypes of a modest person (the Russian image of a modest girl and the Chinese image of a middle-aged man) and different conceptual metaphors in the structure of the concept (the image of a grey mouse for Russians and hollow bamboo for the Chinese) are associated with differences in the set of nuclear and perinuclear features. In addition, the influence of the Confucian worldview dominant and the fixation of a strictly defined prototypical image of a modest person in Chinese culture lead to a somewhat smaller variety of means of representing the concept, albeit with a significantly larger number of etiquette formulas and proverbs.
The article considers the pamphlet culture of the late 16th and 17th centuries, particularly the pamphlets Tarltons Newes Out of Purgatorie (1590) and Greenes Newes Both from Heauen and Hell (1593), as a stage in the historical poetics of posthumous narration, i.e. the narration of a character who, in the conventional reality of the inner world of the work, is represented as a dead person. It is argued that by the end of the 16th century the pamphlet genre became another literary form (along with the ancient first-person epitaph, "dialogues of the dead", vision, and allegorical poem) in which the technique of narration from beyond the grave manifested itself. The article demonstrates how the "serio-comic" line of evolution of posthumous narrative, at the beginning of which stand the works of Lucian, meets in the pamphlet with the visionary tradition, dominating it if not at the level of topoi, then at the level of the mode of utterance. The organisation of subjects in the pamphlet in general, which, according to Mikhail Bakhtin, is characterised by the coincidence of the author and the hero, and the two studied examples in particular highlight the self-reflexive component of the posthumous narrative on one hand, and the importance of the motif of doubles on the other. In Tarltons Newes Out of Purgatorie and Greenes Newes Both from Heauen and Hell, the dead narrators are designated as real authors, and in the second of these pamphlets, literary self-reflection proves to be fundamental not only thematically but also on the plot level (for writing books, Robert Greene, according to the pamphlet, was banished from heaven, then thrown out of hell and doomed to wander the world as a restless ghost). The "duality" of the author and the hero, who is also the narrator, in the pamphlet leads us back to the syncretism of subjects found in ancient literature and the motif of doubles, which is also constant in the contemporary posthumous narrative. In the pamphlets under consideration, the "mortal shadows", according to Olga Freidenberg's wording (who argued that the image of the double arose from the dual passive-active image of a "totem / non-totem", which took shape in the figures of a god and his mortal shadow), are Dick Tarlton and Robert Greene, and their divine doubles are the authors hiding behind their backs (anonymous and B. R.).
The article examines the diary entries of Vera Bunina, the wife of the famous writer Ivan Bunin, for March-April and December 1933, which deal with Germany, where Adolf Hitler came to power in January 1933. The author shows that the entries for March-April mainly reflect socio-political discussions at the Villa Belv & eacute;d & egrave;re (France, Alpes-Maritimes). Participants in these discussions included Ilya Fondaminsky (aApolitical figure and co-editor of the Paris journal Sovremennye Zapiski), the philosopher Fyodor Stepun, Ivan Bunin, Vera Bunina, and the young writers Galina Kuznetsova and Leonid Zurov. Vera Bunina's own authorial position (in the form of comments) is almost absent from these entries. In contrast, the diary entries for December 1933, made during Ivan Bunin's trip to Stockholm to receive the Nobel Prize and back to Paris (accompanied by his secretary, journalist Andrei Sedykh [Yakov Tsvibak], AVera Bunina, and Galina Kuznetsova), Aare purely subjective, as they reflect the personal impressions of these individuals. These entries are mostly everyday sketches, landscapes, and regional studies "from nature". On their journey, Ivan Bunin and his companions passed through Hanover and Hamburg, stopping in Dresden and Berlin on the way back. Their attitude toward Germany-which they had discussed extensively in the spring-and which they now saw with their own eyes, can be described as generally positive, perhaps because it was determined primarily by their aesthetic sense and nostalgia: they liked German cleanliness, order, appearance, courtesy, punctuality, the winter scenery outside the car window, the restaurant entourage in Hamburg, and the general atmosphere, which reminded them of pre-revolutionary Russia. Based on the diary entries presented in the article, the author concludes that in 1933, Ivan and Vera Bunin and their immediate entourage (with the exception of Ilya Fondaminsky and Fyodor Stepun, who were staunch opponents of National Socialism) did not see German Nazism as a threat to the stability and security of Europe and, consequently, did not anticipate the global military and political cataclysms that were initiated by the Hitler regime. This is largely because the Bunins belonged to that very significant part of the Russian emigration that considered National Socialism aAmore or less effective alternative to Bolshevism.
This article analyzes the speech features of social meaning expressions in interpersonal written communication. The aim is to identify speech means of representing information about the social context and its perception by communicators. The hypothesis is that social features and their changes are reflected in the communicative practices of informal interpersonal communication in postcards both explicitly (contexts containing reflection on social events) and implicitly (transformation of communicative genres, frequency of certain groups of lexis). The research was conducted on the material of the digital corpus of postal correspondence Iam writing to you. The corpus contains 32,037 digitized and deciphered postcards sent from 1881 to 2023. The corpus is manually marked into various categories, the main ones being: date and place of sending and receiving, period (pre-revolutionary, Soviet, post-Soviet), name of the sender and recipient, and thematic tags. Among the thematic tags, there is also the tag "social," which is assigned to postcards that record features of the social, socio-political, or socio-economic situation of the era. During the research, a qualitative and quantitative approach to analysis was used: a combination of traditional linguistic methods (contextual, lexical-semantic, and pragmatic analysis) and corpus tools (keyword analysis, concordance lists using the AntConc corpus manager). At the first stage, the entire corpus was divided into three subcorpora corresponding to the pre-revolutionary (1881-1917, 14,356 postcards), Soviet (1918-1992, 16,839 postcards), and post-Soviet (1993-2023, 842 postcards) periods. For each subcorpus, lists of keywords were identified to characterize the vocabulary frequent in that period. At the second stage, social meaning was studied using a manually compiled sample of postcards tagged "social," in which the text contains references to social conditions, events, and processes. The volume of the selected subcorpus was 314 postcards (21,762 tokens). As a result, various speech forms of social meaning expression were identified in the texts. Keywords reflect changes in etiquette formulas, a socially motivated change in significant holidays, and a transformation of communicative practices. The ratio of evaluatively neutral to evaluatively marked texts (among which negative evaluation dominates) was revealed. Various ways of introducing the social component into the context were characterized: through references to the visual part of the postcard; through a story about the addresser's personal experience in social interaction (also in the context of the general sociopolitical or socio-economic situation); and through the transformation of the speech genre of wishes.
This article addresses the scientific problem of insufficient understanding of the mechanisms underlying the formation of a new media platform created "from above" within the framework of digital sovereignty policies. The aim of the study is to analyse the MAX messenger as a media project, identifying the architecture of its public sphere, the strategies of key actors, and the types of digital solidarity that emerge from them. The empirical base consists of data from the open channel aggregator mxstat.ru, including metrics for 444 channels (the top 12 in each of 37 thematic categories) as of December 30, 2025. The methodology is based on a combination of a comparative historical analysis of the platform's development stages, a qualitative content analysis of its categorical system, and a quantitative analysis of publication activity. A comparative method is also used to compare the ideological models of MAX, Telegram, WhatsApp, and other messengers. The study is conducted in several logical stages. First, the geopolitical, regulatory, and sociocultural preconditions for the emergence of MAX are analyzed. The key stages of its development are then reconstructedA-from its strategic announcement to its transformation into a "super service." A comparative perspective reveals MAX's unique "state-integrated" model, contrasting it with other platforms. The main analytical section presents thematic and quantitative analysis of channels, allowing us to identify the platform's core (official institutions and media) and its periphery (entertainment and everyday content). Based on this, an original channel typology is developed, identifying unique types such as "interface channels" and "integrator channels." The study demonstrated that MAX's public sphere is formed as vertically hierarchical and controlled. Its core consists of official institutions and verified actors, which ensures a controlled content production model (barrier "A+"). It is established that the platform operates in a hybrid mode, combining a "legitimacy mode" (rare, status-based messages from the government) and an "everyday mode" (a constant stream of entertainment content). This fosters two types of solidarity: instrumental (based on the need to access services) and everyday (based on shared consumption practices). The conclusion systematises the key challenges facing the platform, such as overcoming user loyalty to competitors and the risk of its being perceived as a purely utilitarian tool, and proposes scenarios for its future development.
The article focuses on Russian fan fiction that emerged based on the Discworld book series by Terry Pratchett. The first part outlines the key features of fan fiction as a special type of literary creativity, the development of which became possible due to the advent of the accessible internet. These features include: 1) explicit intertextuality; 2) focus on the relationships and development of characters; 3) active interaction between the fan writer and the fan reader, with the ability to receive critical and positive feedback from other users of the website during the writing process and to make changes to the text, taking into account or ignoring the incoming suggestions; 4) the ability to include the "ideal version" of the fan writer in the narrative; 5) the predominance of a female audience among authors and readers; 6) the lack of commercial benefit in publishing fan fiction; 7) the attractiveness of fan fiction only within a certain fandom. The main part of the article addresses the analysis of Russian fan fiction based on the Discworld universe. The material for analysis consists of 616 works published on the largest Russian-language website, "Book of Fan Fiction" (ficbook.net), which is the most representative resource. The novelty of the study is that this is the first attempt in Russian literary studies to classify the entire corpus of fan fiction presented on this resource in terms of types and formats. The study revealed that, despite the small number of Discworld-related fan texts compared to other popular fandoms (such as those based on J.R.R. Tolkien's Middle-earth and J.K. Rowling's Harry Potter), fan fiction based on Pratchett's novels is distinguished by its extraordinary variety of types (crossover, canon, post-canon, alternative universe) and formats (gen (64% of all works), slash (22%), het (6%), femslash (3%), mixed (5%)) and demonstrates a steady interest of fan writers in the main characters of the series. At the same time, the most frequently encountered characters in Russian fan texts are Patrician Vetinari (189 works), Sam Vimes (173 works), and Death (90 works). Characters from other subseries come to the attention of fan writers less often. The analysis shows that, first of all, fanfic authors strive to convey the style and comic nature of Pratchett's original book series, regardless of the format and type of their works. Although there are crossovers among fanfics that connect characters from universes of different authors, the intertext of most of them is built primarily on Pratchett's texts. While fan writers are trying to explore formats such as slash, femslash, and het, and to develop alternative plot lines and relationships between characters, Athe Discworld fandom is dominated by "gen" fanfics, in which the plot and behavior of the characters align with the canon of Pratchett's original novels.
The article presents an analysis of the accentual structure of syllabic poems by the Russian reformer and poet Feofan Prokopovich. The aim of the study was to test the hypothesis of the gradual formation of a syllabo-tonic system within syllabics, a hypothesis that does not find support in the works of many versifiers. The material for analysis consists of Prokopovich's heterosyllabic works, compared on the one hand with his equisyllabic verses, and on the other hand with the theoretical recommendations presented in Prokopovich's treatise De arte poetica for the Latin hexameter. AsAa poet, Feofan Prokopovich developed the genres of elegy, cant, psalm arrangements, and epigrams, trying his hand not only in equisyllabics but also in heterosyllabics. AThe main examples that guided the creators and followers of the Russian syllabic school were ancient models, Polish verses, oral poetic lyrics of the Eastern Slavs, spiritual chants, David's Psalter, and the genre of sermons. From the 1700s to the 1730s, Feofan Prokopovich gradually ordered the rhythmic structure of his syllabic experiments, including with respect to caesura divisions, the number of stresses, and the alternation of stressed and unstressed syllables. The most frequent correct accentual schemes corresponding to iamb, trochee, Adactyl, amphibrach and anapaest (with possible pyrrhic variations) are found in Feofan Prokopovich's heterosyllabic poems among short verses: thus, 3 out of 3 six-syllable lines (100%), 89 out of 103 tetrasyllables (86%), and 16 out of 22 five-syllable verses (73%) reproduce metrotonicity in their structure. In the area of octosyllabics and heptosyllabics, Ahalf of the accentual schemes are similar to two-or three-syllable metres (12 out of 23 and 6 out of 12, respectively). Much less ordered in terms of accent are, predictably, 14-, 13-and 10-syllable lines. Thus, only 23 out of 101 decasyllabic lines and only 2 out of 6 thirteen-syllable verses resemble iamb or anapaest; among the fourteen-and twelve-syllable lines, no metrotonic variants were found in Feofan Prokopovich's heterosyllabics. The beginnings of lines start with the first stressed beat in only 81 lines out of 280 lines analysed, which confirms the primacy of iambic anacrusis over trochaic, with a dominance of trochaic clauses. The results of the study show Feofan Prokopovich's important reformist role in the field of improving syllabic versification, which evolved in the direction of syllabo-tonic verse. The hypothesis of versifiers about the formation of metrotonic phenomena in the architectonics of syllabic verse and the proximity of syllabic verses to logaoedic and dolnik metres finds confirmation. Over the course of a century of its development, the Russian school of verse not only managed to create the necessary preconditions for the flourishing first of syllabo-tonic, then of tonic verse, but also to demonstrate the rich versification possibilities of the Russian language at the lexical and grammatical levels of the text, asAwell as a fairly flexible and varied technique of verse.
The article explores the semantic evolution of the denominative preposition v rezul'tate during the 18th-Aearly 21st centuries. Of particular concern is the problem of a lexicographic description of the lexical part of the meaning of denominative prepositions given their semantic evolution. The study achieves a comprehensive aim: the definitions of the preposition v rezul'tate as provided in contemporary Russian explanatory dictionaries, including dictionaries of functional words, were studied and compared, as well as its realization in speech throughout the period under review, based on the data available in the Russian National Corpus. The research is based on the analysis of data provided in specialized dictionaries, as well as examples of the use of v rezul'tate in the main corpus of the Russian National Corpus, including 14,004 texts and 29,745 entries (without disambiguation of homonymy). What emerges from the results reported is a new approach to the lexicographic description of denominative prepositions (as in the case of v rezul'tate). Up-to-date lexico-semantic alternants (variants) of the polysemic preposition v rezul'tate are revealed, and the speech conditions of their realization are described. The authors have developed a project for a dictionary entry providing seven lexico-semantic alternants of the preposition under study. The use of contextual and component analysis methods made it possible to establish the basis for semantic differentiation of the variants of the preposition. The descriptive method allows for a comprehension of the changes in the system of meanings of the preposition v rezul'tate, as well as the linguistic and extra-linguistic conditions of its semantic evolution throughout the 19th-21st centuries. It is found that dictionaries systematically reflect the preposition v rezul'tate as monosemantic. Despite the fact that dictionaries distinguish the semantics of cause, effect, and (indirectly) approval of an action or event for the preposition v rezul'tate, the differentiation of its lexico-semantic alternants is not reflected in lexicographic resources. The analysis of the peculiarities of the use of this preposition in the Russian National Corpus from the end of the 18th century to the present time allows us to suggest that: 1) the preposition v rezul'tate can be considered a polysemant whose semes form independent lexico-semantic alternants; 2) the system of the preposition's meanings has gradually but continuously increased in complexity over the past two centuries; 3) throughout the 19th-early 20th centuries (prior to the October Socialist Revolution), the adverbial use of v rezul'tate was twice as common as its prepositional use, whereas at the present stage v rezul'tate is more actively used as a prepositional unit. At the same time, the present-day predominance of its prepositional use over adverbial use is not as dramatic as in the case of some other prepositions having a similar adverbial origin.
The article analyzes phraseological units of ritual themes recorded in the language of the inhabitants of Bryanshchina, a border territory adjacent to Belarus and Ukraine. A striking feature of this polycultural region is the presence of a national-cultural component both in the content of the folklore tradition (plots and motifs characteristic of specific rituals) and in its expression (dialectal features present in ritual texts). Accordingly, the research was conducted on the basis of a linguocultural analysis of the semantics of phraseology, taking into account their dialectal features. The aim of the research is to identify the ethnolinguistic features of phraseologisms of ritual themes that represent the most vivid components of the folk traditions of the southwestern regions of Bryanshchina. The relevance of the article stems from the sustained attention in linguistic science to the analysis of the deep mechanisms of interaction between the language system and extralinguistic cultural reality. An important role is also played by the social need to study the language of folklore in terms of how folklore idioms reflect the national essence and embody the cultural code of the people. In particular, the article examines the peculiarities of the manifestation of culture and national-cultural specificity in the language of the inhabitants of the described region, as reflected in the phraseological units of calendar and family rituals. The material for the research consists of folklore and ethnographic data on calendar and family rituals obtained through field research. The study employed descriptive and comparative methods, as well as contextual and component analysis, along with techniques of ethnolinguistic commentary to demonstrate the inseparable relationship between language and culture. The symbolic meaning of ritual words is described separately, taking into account a comprehensive description of the ritual action, its participants, and the features of its attributes. The work identifies and characterizes the most vivid idioms associated with festive, Annunciation, Trinity, and wedding ceremonies. The peculiarities of the functioning of phraseological units were examined by comparing linguistic explanations with their immediate cultural context. The conclusion is drawn that the cultural and historical factor plays a dominant role in the emergence of phraseological units of ritual semantics and in their reflection in the consciousness of the inhabitants of the border region of Bryansk Oblast.
The article addresses the issue of the conceptual foundations of the expressive influctive speech act "Insult", builds a model of the frame "Insult", and examines the speech act "Insult" at the discursive level. The relevance of this work is due to the tendency towards invective in modern discourse, which places a comprehensive study of the cognitive-pragmatic characteristics of invective speech acts among priority research areas. In this article, invective is interpreted as an insult conveyed through a statement or text in the aggregate of its linguistic, paralinguistic and extralinguistic factors, whereby a negative emotional assessment of the addressee (invectum) expresses the intention of the addresser (invector) to negatively affect the addressee's emotional state, value paradigm and behaviour. The analysis of explicit insults in speech will allow us to better understand the mechanisms of their formation, functioning and impact on the addressee. The study was conducted on the basis of 623 examples of invective speech acts taken from the British National Corpus.
This study investigates mixed languages, with a specific focus on their lexical characteristics. It proposes and substantiates the hypothesis that the degree of lexical mixing in such languages -reflected in the prevalence of doublets and the distribution of vocabulary between source languages -is linked to the specific pattern of their emergence, rather than to the diachronic process of stabilisation over time, as suggested by Auer's model. The research is grounded in the analysis of core vocabulary using the Swadesh 100-word list, applied to the following mixed languages: Gurindji Kriol, Light Warlpiri, Michif, Media Lengua, Angloromani, and Medny Aleut. Quanti-tative data on lexical origins and doublet frequencies were collected from existing dic-tionaries and prior studies, enabling a comparative assessment. Three primary patterns of emergence are identified and analysed. The first, code-switching (observed in Gu-rindji Kriol and Light Warlpiri), is characterised by a high proportion of doublets and a relatively even distribution of lexicon between the source languages. The second pat-tern, language intertwining (exemplified by Michif), exhibits a moderate level of dou-blets and mixed vocabulary, resulting from the combination of the grammatical system of one language (Cree verbs) with the nominal system of another (French nouns). The third pattern, relexification (as in Media Lengua), shows minimal doublets and a clear dominance of one lexifier, involving the massive replacement of native lexical stems with items from an introduced language while retaining the ancestral grammatical frame. Furthermore, the study promotes the concept of mirror-opposite relexification (applicable to Angloromani and Medny Aleut). In this pattern, the ancestral language (Romani, Aleut) provides the bulk of the lexicon, representing a reverse of the Media Lengua model, as discussed by Croft and Chlenov. The findings directly challenge Auer's diachronic continuum model (code-switching -> language mixing -> fused lects), which posits that mixed languages gradually reduce variation and stabilise over time. The data reveal no consistent correlation between the age of a language and its lexical variability. For instance, Michif (emerged in the early 1800s) shows a higher degree of lexical mixture and doublets than the younger Medny Aleut (emerged in the late 1800s). Instead, the lexical profile -especially the frequency of doublets -shows a strong and systematic correlation with the sociolinguistic pathway of formation. Code-switching leads to the most lexically mixed outcomes, while relexification (both standard and mirror-opposite) results in the least mixed, lexically dominantprofiles. The study concludes that the "mixed nature" of a language, particularly its lexical struc-ture, is fundamentally shaped by its emergence pattern. This pattern, in turn, predicts key features such as the distribution of vocabulary between lexifiers and the prevalence of doublets.
This article considers some important aspects of the artistic, structural and poetological structure of Zamyatin's novel We. Prominent theorists of the novel, D. Luk & aacute;cs and M. Bakhtin, believe utopianism (as an aspect of incompleteness) to be the most important characteristic of novelistic structure in general. The reflection on novel form by the characters in We also alludes to the incompleteness and openness of man and the world in this genre. From the perspective of the theory of novelistic balance (equilibrium) created by D. Luk & aacute;cs, the novel has lost the total filling of life with meaning and justification that was inherent in the epic. The epic character knows precisely what is good and what is evil. This knowledge is based on the unity of the tribal world. Modern man (novel man) has fallen outside this tribal integrity, doubted tribal axiology, and is forced to navigate the world's value system independently. The concept of "We", brought out in the title of Zamyatin's novel, could legitimately be applied to the epic tribal unity, but here it also turns out to be a project: a claim to establish a meaningful unity of life and a certain place for each person in the world of utopia (with the loss of individuality acquired after the collapse of the tribal world). According to Luk & aacute;cs, the endless search of the novel's hero leads to the formation of a structure of novelistic equilibrium, when the hero's endless personal utopia is dynamically adjusted by the author's infinity. The various forms of interaction between these intentions form subtypes of the novel. The dystopian novel subgenre did not fall within the Hungarian scholar's purview. It is necessary to identify the fundamental laws of novelistic form within this subgenre as well. What exactly "balances" and adjusts the hero's search and aspirations in a dystopia? The destructive force of the world around him and the hero's internal flaws, which are also derived from the system (in the case of Zamyatin's hero, from the true face of the system, which does not coincide with D-503's imaginary conception of it). That is, the author's overall message in the dystopian novel is a critique of the inhumane nature of possible socio-utopian distortions. But within the novel's equilibrium, the author's intention utilises the overwhelming force of the dystopian system to correct the hero's intention (just as for Turgenev, who is closer to the lofty aspirations of the hero, but within the framework of Luk & aacute;cs's equilibrium, he corrects the hero with the help of the factor of the low and vulgar prose of life; this is precisely his "balancing" contribution, even though low prose is also alien and hostile to him). AThis sceptical adjustment also affects other heroes who may function as personifications of the "other path", such as Zamyatin's I-330 in Orwell's Julia. At the same time, we must remember that the elemental and natural, personified by I-330 and evoked in D-503, generally has a positive connotation in Zamyatin's "Scythianism". But this model of spontaneous revolutionary renewal of life also obeys the principle of novelistic balance (equilibrium).
This article presents a linguistic interpretation of the poem "The Serpent" ("Zmey") and identifies the most significant semantic components in the structural meaning of the serpent/snake image in Osip Mandelstam's poetic texts. The primary methods employed are definitional analysis, componential analysis, contextual analysis, and semantic-stylistic analysis. The research progressively addresses the following tasks: 1) identifying the corpus of Mandelstam's poems that contain serpentine imagery; 2) extracting conceptual and linguistic information about snakes from various dictionary types, providing the background against which the specificity of serpentine imagery in Mandelstam's poetry can be discerned; 3) Aanalyzing the poem "The Serpent" through the prism of the associative and figurative potential of the words zmey (masculine serpent), zmeya (feminine snake), and udav (boa constrictor), and determining the dominant meanings of the serpent/snake image in Mandelstam's poetry; 4) modeling the semantic structure of the serpent/snake image in Mandelstam's poetry. The author's main conclusions are as follows. In Mandelstam's poetic legacy, only five poems containing serpentine imagery are found, with just three nominations for snakes: zmey, zmeya, and udav. The most significant among these poems is "The Serpent," where the serpent/snake image unfolds on two levels simultaneously: the cultural and the subjective-personal. The cultural level comprises several components: conceptual-linguistic, biblical, and mythological. The conceptual-linguistic component contains information about snakes familiar to most native speakers and codified in various dictionary types. The biblical component arises from the associative-semantic connection of the nomination Zmey (Serpent) with the image of the serpent-tempter (Satan). The mythological component is activated through the phrase "dancing snake" (zmeya tantsuyushchaya): in the legends and myths of world cultures, the snake is often endowed with hypnotic power, and the snake's dance is its means of throwing a victim into torpor. At the subjective-personal level, three dominant semantic features of particular significance to Mandelstam were identified within the serpent/snake image: ambivalence, dynamism, and association with intense emotion. The ambivalence of the image stems from the differing lexico-grammatical characteristics of the nominations zmey, zmeya, and udav, causing the image to appear simultaneously as "masculine" and "feminine," "generalized" and "concretized." Dynamism and changeability are created primarily through the depiction of the serpent/snake using lexis of visual and kinesthetic perception. The connection with intense emotion and suffering arises from the direct identification of "dancing snakes" with "passions" and the use of serpent nominations surrounded by lexis denoting unpleasant auditory and painful tactile sensations. Overall, the serpent/snake image in Mandelstam's poetry embodies the very moment of the subject's existence in a liminal state, in a situation of difficult choice, "temptation," temporary loss of bearings, loss of emotional equilibrium, and intense, painful inner search.
Podcasting is a 21st century discursive practice based on the production of digital audio files posted as a series of episodes on online platforms along with a possible polycode extension. Our work is relevant as it complements the discursive paradigm of linguistics by comprehending the peculiarities of distributing expert information to a lay audience via this high-tech media format. The aim of the article is to consider the ways of popularizing linguistic knowledge in Russian-language podcasts. The sample of 19 communicative products of the relevant topics posted on the Russian streaming service "Yandex Music" forms the experimental base. The methods of discursive, medialinguistic, communicative, pragmatic analysis are used in the article. The research has revealed the characteristics of the participants of communication: it is initiated and supported by representatives of scientific, educational, and information centers, stimulating the cognitive activity of listeners and periodically transferring to them as communicative partners the function of a discursive agent, who contributes to the development of linguistic knowledge. The classification of the podcasts according to the content and formal criteria enabled us to obtain a comprehensive typology that combines the thematic perspective (projects with linguistically exclusive and linguistically inclusive approaches) with different genres of media products (messages, lectures, interviews, cohosting). Special attention is paid to the description of structural elements within podcasts: medianames, covers, trailers, abstracts and episodes, each of which includes a title, optional description of the issue and an audio track. The article shows that the specific character of their semiotics is related to the multimedia and polycode nature of digital communications, which increase their efficiency due to the constructive interaction of visual, auditory and verbal means. The author finds that the communicative strategy of informing is implemented in the analyzed podcasts in three speech tactics of linguistic knowledge representation taking into account the cognitive capabilities of the non-professional audience-an appeal to the background knowledge of the addressee; an explanation through the use of many explanatory techniques; a change in the volume of primary linguistic knowledge. The research concludes that the discursive practice of Russian podcasting creates favorable conditions for the integration of expert information about language into the world picture of mass audience, generation of new social and cultural meanings and creative forms for their expression.
This article analyzes the linguistic and communicative features of employment discourse in Russian Telegram channels, which represent aAnew dimension of professional communication in the digital age. The study emphasizes Telegram's role as a dynamic, interactive multimodal platform that differs significantly from traditional digital job search platforms such as hh.ru or Superjob.ru. AThe research material consists of 604 posts identified through targeted sampling from 20 Telegram channels, as well as a broader sample of posts from 1007 channels in the "Career" category of the TGStat analytical service. The collected material was analyzed using content analysis, multimodal and critical discourse analysis, and semantic-stylistic interpretation. The study identifies characteristic features of employment discourse in Telegram, including interdiscursivity (integration of elements from pop culture, psychoanalysis, and esotericism), segmentation (focus on professional niches and regions), and genre diversification (presence of informational, educational, motivational, and entertainment content). Features such as immersiveness, interactivity, colloquialization, visualization, psychologization, personalization, and gamification enhance the appeal of Telegram employment discourse-particularly for millennials and Generation Z, who value flexibility, mental health, and self-actualization. Employment discourse in Telegram reflects new labor market trends-the growing popularity of remote work, emphasis on psychological well-being, and the significance of corporate culture for talent attraction. Telegram channels are created by both large companies and individual enthusiasts, offering diverse content (textual, visual, and mixed) and forming an emotionally rich and accessible environment. The communicative repertoire of discourse participants combines Russian and English, enabling flexible, often playful communication that creates a relaxed, humor-infused atmosphere. English borrowings in employment-related Telegram channels serve multiple functions: they modernize and globalize the language, emphasizing connection with international trends; attract a young audience; construct professional and social identity; provide emotional and stylistic expressiveness; and economize linguistic means. This creates a translingual and transcultural space where global and local cultural codes intertwine. Telegram channels not only reflect changes in professional communication but also actively shape new expectations among job seekers and employers, adapting to digital and global trends. The study underscores Telegram's growing role in recruitment, particularly in IT and other digital sectors, and lays the groundwork for further investigation of its influence on job seeker behavior and the evolution of HR practices in the digital age.
This article analyzes one of the plots within the theme of Stalinist repressions-the plot of the mother's return from a corrective labor camp, as depicted in Yuri V. Trifonov's novel Time and PlaceA(1981) Aand Bulat Sh. Okudzhava's story "The Girl of My Dreams" (1986). It is argued that biographical circumstances (the arrest of their mothers, the arrest and execution of their fathers) determined the repeated engagement with the theme of repressions in the creative practices of both writers. Pointed references to traumatic experience in literary texts testified to an urge to record and comprehend it. However, the forms of expressing this experience in literature were strictly regulated by the prohibition on direct speech about Stalinist terror in official Soviet narrative (excluding the brief Thaw and Perestroika periods). The very nature of psychological trauma, which is based on the blockage of speech (C. Caruth), on the one hand, and external taboos, on the other, contributed to the creation of specific forms of manifesting the theme of Stalinist repressions in official Soviet literature of the early 1980s. The primary aim of the article was to analyze the specific forms and means of conveying the plot of the mother's return, the particularities of which are conditioned by the writer's intention to overcome "double" silence, and to reveal the hermeneutic potential of this plot. This perspective made it possible to describe the plot of the mother's return in Trifonov's novel Time and Place as dispersed, conveyed through techniques of omission. The main device was the dissolution of the mother's storyline within the theme of the protagonist Antipov's formation as a writer. Special attention in the article is paid to analyzing the implicitly expressed generational polemic between the protagonist and his mother regarding the question of memory and speech about the repressions: while through the mother's image Trifonov conveys practices of collective disavowal ("we know it happened, but we remain silent"), through the protagonist's image the necessity is affirmed of remembering and speaking about this terrible experience, recognizing it as an integral part of one's identity. The analysis of Okudzhava's story "The Girl of My Dreams" concentrates on examining the artistic reflection of practices of individual and social forgetting of Stalinist repressions. One form of forgetting becomes the representation of the protagonist's visit with his mother, who has just returned from the Gulag, to see the eponymous trophy film. The mother's image in the cinema, firstly, becomes for the protagonist a form of insistent reminder of the repressions; secondly, it is there that he realizes the impossibility of identifying himself either with his mother's experience or with the film's heroine. The protagonist thus finds himself in an intermediate position "between" the experience of un-lived trauma (the desire to forget) and the experience of living a non-existent life (watching the film). Based on the analysis of the plot in both texts, a conclusion is made about the late Soviet identity, which is based on a complex sense of belonging to the Soviet (one's own experience) and a break with the Soviet, where they persistently tried to forget this experience.
