Philology: scientific research

This article presents a systematic historical-discursive analysis of the evolution of the ideological frames of "threat" and "resource" in the discourse of Chinese state media on immigration throughout four key historical periods (19th-21st centuries). The subject of the study is the evolution of ideological frames in the discourse of Chinese state media (press) on immigration over four historical periods: the late imperial era (Qing dynasty), republican period (Republic of China, 1912–1949), early socialist period (PRC from 1949–1980), and the modern era of reform and globalization (late 20th – early 21st centuries). The analysis examines not only explicit narratives but also deep linguistic structures, rhetorical strategies, and contextual conditions that shape the image of the immigrant and the migration process. A historical-discursive analysis of the dynamics of two fundamental and often contrasting frames used by Chinese media in covering immigration: the "threat" frame (emphasizing risks to security, cultural homogeneity, and social stability) and the "resource" frame (highlighting economic, demographic, or innovative benefits). The scientific novelty of the study lies in the following. First, for the first time within a single study, a systematic comparison of media discourse on immigration is conducted over such a prolonged historical period (19th-21st centuries), allowing for the identification of not only breaks but also continuities in ideological patterns. Second, the work contributes to frame theory by applying it to the long-term ideological process in a non-Western media context, demonstrating how frames adapt to changes in political regimes. Third, the novelty lies not in simply stating the replacement of one frame with another, but in revealing their complex coexistence, mutual supplementation, and contextual switching depending on the target audience and current state priorities. Thus, the article offers a comprehensive model for analyzing how, through the lens of media discourse, the image of the "other" immigrant was constructed and transformed in Chinese public consciousness, reflecting the deep logic of the relationships between the state, the nation, and the global world at different stages of Chinese history.

The article is dedicated to the quantitative analysis of lexemes representing two selected linguoconcepts, using the works of V. V. Nabokov's novel "Camera Obscura" and its English adaptation "Laughter in the Dark" as material. The aim of the study is to identify the frequency characteristics of key linguoconcepts and to determine the degree of their verbalization in the two language versions of the work. The subject of the research includes lexical units that verbalize the key linguoconcepts selected for analysis in both language versions of the work, as well as their frequency, structural, and comparative characteristics. In addition, the research subject includes the comparison of the author's ways of linguoconceptualization in the two language systems, which allows for identifying which elements of the linguoconceptosphere are retained, transformed, or lost when transitioning from the Russian to the English version of the text. In this study, linguistic statistical methods, comparative analysis of the use of lexical units, and the software tool WordStat for counting their frequency were employed. As a result, the most frequent linguistic units participating in the representation of the studied linguoconcepts were identified and presented, allowing for the establishment of differences in the degree of their verbalization in the Russian and English texts. The novelty of the work lies in its bilingual approach to quantitative analysis, as unlike most existing studies that are limited to material from one language or mainly focus on translation difficulties, this work offers a comprehensive statistical and comparative analysis of the two versions of "Camera Obscura" created by V. V. Nabokov himself. The conclusions drawn confirm the affiliation of the analyzed linguoconcepts to the number of key concepts, as well as demonstrate differences in the nature of their verbalization in the two versions of the work, reflecting the features of V. V. Nabokov's imagery system as a bilingual writer. The obtained data can be utilized in studies on conceptual analysis, linguistic statistics, translation studies, as well as in examining authors' strategies for representing linguoconcepts in bilingual and multilingual texts.

The subject of the study is songs recorded from representatives of Cossack surnames in settlements that previously formed the Gorky fortified line of the Siberian Cossack army. The source of the material was E.Ya. Arkin's collections "The Cossack sings a song. Songs of the Cossack villages of the Omsk region" (1999) and "Songs of the Siberian Cossacks of the Gorky Line. Late recording period" (2024). The purpose of this work is to examine the features of the variation of Cossack song texts in the context of the migratory culture of the Middle Irtysh region. Comparative material recorded primarily in the regions of Siberia, as well as folklore collections containing song texts recorded in the places of the Cossacks' original residence, was used for variational analysis. The Cossack song tradition of the Omsk region is represented by a variety of genres, including wedding songs, non-ritual lyrics, and songs of literary origin. Its local specificity is formed on a common Slavic basis as a result of the interaction between various regions. In its modern form, the traditional Cossack song is a complex synthesis of texts, both in terms of genre and authenticity, as well as intergenerational continuity. The Omsk texts reveal common features of Cossack folklore songs: historical and military themes, and local references. The novelty of the study lies in analyzing late recordings of the local song tradition and examining its specifics in the context of changing historical conditions of the migrant culture. This allowed us to identify the main trends in text variation: first, the adaptation of songs to new living conditions by introducing local place names or details into the text; second, the simplification and reduction of texts to match the changing conditions of Cossack life; and third, the strengthening of the lyrical element by reducing narrative and descriptive episodes.

The subject of the research is the application of computational methods in the comparative analysis of media narratives that shape representations of armed conflicts in the global media landscape. The object of the study consists of news materials from the international media outlets CNN and Al Jazeera related to the Israeli-Palestinian conflict. The author analyzes aspects of the topic such as the operationalization of theoretical concepts in media analysis, the comparison of narrative strategies across different media, and the possibilities of scalable analysis of media discourse. Special attention is given to how media not only reflect events but also construct meaning models of conflict through framing, tonality, and attribution of agency. The article examines differences in thematic priorities, emotional coloring, and narrative structure in the materials from the two media systems that represent different political and institutional contexts. It discusses the limitation of traditional qualitative analysis methods when working with large text corpora and the necessity of integrating computational tools into media research. Thus, the study aims to identify persistent narrative differences and to form a reproducible analytical framework for comparative studies of media discourse on conflicts. The methodology of the research is based on a hybrid approach that combines natural language processing methods, thematic modeling, and interpretative analysis using large language models. The main findings of the conducted research reveal systematic differences in the narrative and discursive strategies of CNN and Al Jazeera when covering the same conflict. It has been established that Al Jazeera's materials are characterized by a consistently negative tonal background and an emphasis on the humanitarian dimension of the conflict, while CNN creates a more fragmented narrative alternating between negative and positive plots related to diplomatic events. The novelty of the research lies in the development and testing of a meta-model for comparative media analysis, which combines quantitative computational methods with qualitative interpretation of media texts. A significant contribution of the author is the operationalization of classic theories of media studies through specific NLP metrics and procedures, which enhances the reproducibility and transparency of the analysis. It has been shown that the integration of large language models expands the possibilities for semantic comparison of narratives without losing analytical depth. The conclusion is made regarding the continued influence of institutional factors in media systems on the formation of media reality even in the context of digitalization and automation of analysis.

The subject of this study is the specificity of the ironic mode in A.P. Chekhov's play "The Seagull." The artistic mechanisms through which the playwright realizes irony that goes beyond traditional comic effect are analyzed. The central focus is on the system of characters, which is built not on antagonistic opposition but on a hidden community conditioned by mutual misunderstanding and each character's immersion in their subjective world. Irony is revealed through the contrast between static characters (Masha, Medvedenko, Polina Andreyevna) and dynamic characters (Treplev, Nina), whose painful epistemological insight is contrasted with the unchanging worldviews of the former. Special emphasis is placed on the transformation of key motifs (for example, "fishing" and "writing" in Trigorin), demonstrating not only the internal degradation of the character but also the irony of the "composition of life," which subjugates the will of individuals. Thus, the object of study is the complex two-level structure of Chekhov's irony, manifested at the levels of characters, their relationships, and recurring symbolic images, which defines the unique tragicomic pathos of the play. The methodological foundation of the research is a systemic analysis of the text, allowing the play to be viewed as a cohesive structure. Within this framework, motif analysis of recurring images is applied to reveal their transformation. A comparative method is used to analyze pairs of characters and identify the principle of hidden parallelism. The historical and literary context is drawn upon to verify conclusions. The synthesis of methods ensures the validity of the analysis. The scientific novelty of the work lies in the systematic examination of irony in "The Seagull" as a two-level phenomenon. Unlike approaches that emphasize only its comic or tragic dimensions, it is argued here that Chekhov's irony functions simultaneously as a critique of static existence and as a revelation of the tragic nature of knowledge, which, even in insight, does not grant harmony to the characters. For the first time, the evolution of the motif of "writing" in Trigorin is interpreted in detail – from "observer" to "participant" in the drama, revealing his degradation and subjugation to the "composition of life." The main conclusion is that it is precisely the multilayered irony, exposing the gap between ideal and reality, as well as among the insights of the characters themselves, that constitutes the core of Chekhov's innovative dramaturgy in "The Seagull," which finds development in "The Cherry Orchard." Thus, the play emerges as a philosophical drama, where irony becomes the key to understanding existential laws.

The subject of this study is the image of the spirit mistress of the earth in folklore. The aim of the work is to identify the dynamics of the transformation of a key sacred image and its reflection in folklore. Objectives: to examine the initial concept of the image; to identify the main models of image change; to analyze the functions of the image in the epic narrative. To solve these problems, a comprehensive analysis, comparative-typological, and structural methods were used to characterize the features of the image. The novelty of the work lies in the author's tracing the dynamics of the transformation of the key mythological image of the spirit mistress of the earth—from the initial zoomorphic form (elk/deer) through the zooanthropomorphic stage (an old woman mistress with bestial features) to the final anthropomorphic appearance (a maiden patroness). For the first time, it is demonstrated in detail how the zoomorphic code "elk/deer" becomes the core of the image of the mistress of the earth. A three-stage analysis allows us to understand the dynamics of Evenki mythological thinking. The image of the spirit mistress of the earth appears as a dynamic mythological system, where archaic zoomorphic representations reflected in myths are gradually enriched with anthropomorphic features in the epic narrative. This reflects the evolution of the Evenki worldview: from "merging" with nature to "dialogue" through the personification of its forces. The evolution of the Evenki spirit mistress of the earth image occurs through layers, with animistic images giving way to zoomorphic ones, ultimately taking on a human form. This transition reflects the development of religious practices (from animism to shamanism) and the transformation of social structures (from matriarchal to patriarchal, while retaining feminine archetypes). The study demonstrates how the collective memory of the people preserves and reinterprets archaic images within the epic tradition.

The relevance of the study lies in the scientific significance of the study of the multimodal nature of the artistic literary text, in which the problems of human existence find a verbal-visual, verbal-sound embodiment, as well as in the significance of the study of the transfer of a verbal-visual image with a moral and philosophical plan of content from one national historical context to another. The article examines the dialogue of Russian poets-readers with the "Venetian novel" by E. T. A. Hoffmann "Doge and Dogaressa" in the aspect of semantic confrontation between personality and superpersonal power (from the power of mighty fate, the visible hypostasis of which becomes the sea, to divine providence), while the relationship in the poetics of the visual (landscape, ekphrasis, color-light solutions, subject detail) and abstract-conceptual (freedom, power, dream, soul, fate, providence) finds an individual drawing in Hoffmann's reception by Russian poets of the late XIX – early XX centuries, including through the unfinished poem by A.S. Pushkin "The night is quiet, in a heavenly field... In the process of analysis, a comprehensive literary approach is used, combining historical-cultural, comparative-typological, comparative, mythopoetic methods. It is shown that the mystical plan of Hoffmann's novel, dating back to the religious and philosophical concepts of spirituality and the power of nature, turns out to be dominant in the value-semantic structure of Doge and Dogaress. Visualization techniques give artistic elaboration to matrimonial and metaphysical motives. Functionally significant in this aspect "sea" microplots, symbols are highlighted. Attention is paid to the emblematic detail ("wounded dove"), emphasizing the angelic principle in the image of the heroine. The "picturesque" scenes presented (in particular, the night sea voyage) turned out to be in demand by domestic poets. The novelty of the study is due to the fact that the poetics of the studied works revealed the systemic presence of visual as a picture visualization in the context of the conflict between superpersonal forces and heroes, which manifested itself in the diverse development of the transmission of the mystical principle associated with the "human" and foreign essence of the Adriatic; with an expression of a foreign point of view. The private plot of the Venetian text of culture is first covered as a cultural myth in demand in Russian literature, containing ambivalently the motives of the power of beauty and "beauty" of power, loyalty and betrayal, man and nature, immanent and transcendental, superpersonal forces and freedom of personality.

The author thoroughly examines the concept, principles of compilation, and scientific value of the "Dictionary of Phytoonyms of the Avar Language." This is due to the necessity for systematic fixation and in-depth study of an important layer of specialized vocabulary, which directly reflects the traditional economic structure, cognitive experience, and holistic worldview of the Avar people. The presented work defines and analyzes the main sources for the formation of the dictionary, including new field materials, recordings of living spoken language, and existing lexicographic works. Furthermore, the article details key structural-motivational models characteristic of Avar phytoonyms, such as compounding and suffixation, and proposes a clear thematic classification of them. The potential of the dictionary lies in its multifaceted application: in modern lexicographic practice, in the educational process when studying lexicology and linguocultural studies, as well as serving as a fundamental basis for comparative and historical studies of the languages of the Dagestan family. The methods used in this work include: techniques of semantic-analytical representation of vocabulary, methods of comparative analysis, and anthropologically oriented descriptions of words and their classifications; techniques of selection of vocabulary and introspection as a way to determine the ontological nature of the phenomena denoted; the comparative method is utilized to identify similarities and differences between specific thematic groups. The scientific novelty of the research lies in the following: this is the first specialized work, the first attempt to create a separate lexicographic work entirely devoted to the systematic organization and comprehensive description of the phytonymic vocabulary of the Avar language, which will fill a significant gap in its terminological documentation; it reflects not only the meanings but also motivational signs of nomination ("appearance," "property," "place of growth" – literal translation), revealing the connection between language and cognitive and cultural models of the ethnic group; the complex of sources and dialectal coverage – the dictionary is formed on the basis of a triad of sources: data from existing dictionaries, new field materials, and recordings of living spoken language; it serves as a foundation for interdisciplinary research not only for linguistics (comparative linguistics, semasiology) but also for ethnobotany, cultural anthropology, and folkloristics, demonstrating the integrative scientific potential of the publication.

This article examines the key challenges encountered in translating Ivan Bunin's short story "Madrid" into Chinese. The research focuses on the Russian-Chinese literary translation of "The Madrid Restaurant" by Chinese translator Chen Fu, while the subject matter focuses on the linguastylistic transformations in the Chinese version of the story, affecting the title, speech characteristics, sound organization, and the rendering of subjective modality. Specific examples demonstrate how a translation strategy aimed at simplifying and "flattening" the text leads to the negation of Bunin's carefully constructed system of semantic and stylistic nuances. In conclusion, the author states that while there is no such thing as a perfect literary translation, constant and deep immersion in the Russian language and the writer's poetics always paves the way for improving the translation of Bunin's story. The study is based on a comparative linguastylistic analysis of the Russian original and Chinese translation, as well as an interpretive method. The scientific novelty of this study lies in the fact that the author, for the first time, conducts a comparative analysis between Bunin's story "Madrid" and its Chinese translation, "Restaurant Madrid," by Chen Fu. Against the backdrop of active Russian-Chinese cultural exchange, scholars in both countries have addressed the issue of translating Russian literature into Chinese and Chinese literature into Russian, but until now, a publication specifically addressing Bunin's story "Madrid" and its Chinese translation, "Restaurant Madrid," has been lacking. This article fills this gap. Since this article focuses on a single story by a Russian writer, the author's conclusions are also concrete: although there is no such thing as a perfect literary translation, especially when it comes to translating such subtle artists of the word as Ivan Bunin, nevertheless, constant and deep immersion in the Russian language and the poetics of the Russian writer always opens the way to improving the translation of the story "Madrid." The Chinese audience is waiting for a new version of the translation of this story.

The purpose of this work is to conduct a comparative study of the structural and semantic slang features in German and English. Slang used by young people in speech reflects changes taking place in the world around them. Youth slang contains a unique vocabulary with specific properties, a variety of phrases. It is interesting to consider the common features and differences in the ways of replenishment and the meaning of slang units in different languages – German and English. The subject of the study is the structural and semantic features of slang in German and English. The research material consisted of 100 German slang units taken from the texts of German–language media – Deutsche Welle, Der Spiegel, Stuttgart Nachrichten and 100 English slang units from the texts of English-language media - The Guardian, Daily Mail, Times Live. The work uses the continuous sampling method, comparative linguistic analysis of slang units, quantitative data processing methods. The scientific novelty of the study consists in a multidimensional description of German- and English-speaking units of youth slang, isolated from modern sources for the period from 2018 to 2023, and in their comprehensive comparison. The results of the study show that youth slang, in general, reflects the general trends in language development. Indeed, word-formation models are the most productive way to replenish slang in both languages. At the same time, the most productive way to form German slang is to combine various word-formation models and borrowings, primarily from English. The semantic analysis data shows slight differences in the compared languages, which allows us to conclude that German- and English-speaking youth are interested in the same spheres of life. This comparative study provides an opportunity to study youth slang in sufficient detail, its formation trends and usage in German and English.

This article analyzes Russian media discourse to identify its role in shaping cultural stereotypes in the mass audience's perception. The empirical basis of the study consisted of cultural news items from the period May–October 2025, published on four popular Russian-language online resources: Lenta.ru, Gazeta.ru, Super.ru, and Ura.ru. To compare discursive strategies, headlines from a publication positioning itself as "quality press" ("RBC") from the same period were additionally analyzed. The presented research includes an analysis of news headlines from the perspective of their syntactic and lexical content, an analysis of article topics, as well as techniques for exerting emotional influence on the recipient, promoting an uncritical perception of the transmitted content. The methodological basis of the study was the random sampling method for selecting examples for analysis and the content analysis method, aimed at identifying ways of representing information to form a system of values of a pragmatic nature in the public consciousness. The analysis revealed that the structuring of information in media texts follows this logical scheme: specific selection of information and methods of its transmission, formation of a specific stable image, and, subsequently, a specific stereotype of information perception within the desired cultural-ideological context. As a result of the study, it is concluded that the media deliberately influence people's consciousness, providing a worldview which focuses primarily on pragmatic goals and commercial interests. It is stated that this kind of information cannot contribute to the formation of cultural identity, and media discourse in this case does not serve as a space for cultural interaction between the media and readers. Instead, it turns into a tool for manipulating public consciousness, used in accordance with the laws of market economy primarily to monetize audience attention rather than to educate it.

The subject of this research is the transformation of the professional ideology of journalism education in China from 2001 to 2024. The object of the study is the system of training journalists in Chinese universities; the subject is its value-normative, institutional, and technological components. Special attention is given to the operationalization of ideological parameters in regulatory documents, educational programs, and academic research. The author examines in detail the mechanisms of combining ideological control and professional training in the context of digital modernization and the strengthening of the country's international influence. The methodological basis includes an analysis of relevant acts and curricula, as well as the comparison of case studies. Using Peking University as an example, it is shown how a combination of professional competencies, global thinking, and ideological loyalty forms a coherent profile of the modern Chinese journalist. The theoretical and methodological foundation is based on the parametric-indicator approach of I.N. Blokhin (2023), which allows for the consideration of professional ideology as a multilayered and multidimensional system. My novelty lies in the systematic introduction of I.N. Blokhin's parametric-indicator approach into the analysis of the professional ideology of journalism education in China, constructing a three-level framework – values and norms, institutional mechanisms, technological components – and proposing clear, practically applicable evaluation criteria. My contribution consists of the implementation and adaptation of I.N. Blokhin's methodology, specifically his "parametric-indicator" approach, to the study of professional ideology in Chinese journalism education, which required contextual adaptation and the development of appropriate criteria. In conclusion, from 2001 to 2024, journalism education in the People's Republic of China has developed into a multilayered political-technological model, where the ideological framework, professional training, and digital competencies are integrated. The contemporary Marxist-Leninist value core is institutionalized through required courses, standard textbooks, and support mechanisms; in practice, a unified professional profile is formed (competencies, global competence, ideological identity). State initiatives and media convergence platforms establish stable regulatory frameworks; digital transformation strengthens the connection between competencies and ideological requirements and external communication, ultimately defining a clear vector of development and parameters of professional identity.

This article continues the research of the authors who focus on the contextual poetics of Mari poetry in the 20th and 21st centuries as a subject of literary studies. It examines the anthroponymy of a national poet, which is considered by the authors of the article as a way of presenting contextual content (a way of creating a special artistic space in a literary text). The purpose of the article is to identify the features of using anthroponyms as a technique of contextual poetics in modern Mari poetry, using the literary and creative experience of the well-known poet Gennady Oyar (Sabantsev) as an example. This is the first time that such a goal has been stated and implemented in regional and national literary studies. The specific material of the study is the poetic texts of the Mari poet Gennady Oyar, included in his collection "Shumsavysh" (Echoes of the Heart) (2008), which contain anthroponyms in their artistic structure. The research methods include historical-genetic, comparative-typological, and structural-semantic analysis; the work also uses textual, intertextual, and contextual analysis of literary works. The study characterizes the main types of anthroponyms in the lyrics of Gennady Oyar, taking into account their structure and sources; it identifies the main functions of anthroponyms that are relevant in the context of contextual poetics; it reveals the features of the author's cultural outlook (contextual competence) of the Mari poet; it shows the specifics of the author's reflection on anthroponymic intertexts; and it raises the question of the role of anthroponyms in the author's ethno-identification. The authors of the article conclude that different types of anthroponyms in Gennady Oyar's poetry collection "Echoes of the Heart," while performing meaning-forming and symbolic, socio-historical and ethno-cultural, intertextual, emotional-evaluative, and authorial, psychological, and identification functions, contribute to the text's rich contextual content, making them a valuable tool for contextual poetics. The anthroponyms used by the poet are a way to reconstruct the contextual content of a literary text, to understand the author's intention, semantics, and poetics of his works.

The question of the representation of archetypes in literature has been repeatedly addressed by researchers. However, in Yakut literature, the problem of reproducing archetypal images and their creative interpretation by writers has not been sufficiently explored. This article examines the archetypal pair of old man and old woman, which has taken on a distinctive embodiment in the story "So the Larch Has Aged with Me" by Yakut prose writer Vasily Yakovlev. The author addresses universal human questions and presents a national perspective on the world, rooted in a traditional way of life. The aim of the work is to describe the correlation between the images of the main characters, the old man and the old woman, in Vasily Yakovlev's story "So the Larch Has Aged with Me" with the archetypal pair "old man-old woman," and to identify aspects of their embodiment. The object of the study is the story "So the Larch Has Aged with Me," and the subject is the aspects of embodying the archetypal image of "old man and old woman" in the reception and creative interpretation by the author. In this study, we rely on the method of N.V. Chernyavskaya, and in terms of chronotopic aspects, we utilize the method of M.M. Bakhtin. Comparative analysis allows us to examine the aspects of embodiment of the archetypical characteristics inherent in the paired image created by the author. The research conducted has established that in the story, the author presents the couple of the old man and old woman as guardians of enduring values and traditions of the northern people. The scientific novelty of this study lies in the fact that the archetypal paired image of "old man and old woman" is explored for the first time in the story of Yakut prose writer Vasily Yakovlev from the second half of the 20th century. The depiction of the archetypal pair "old man-old woman" in Vasily Yakovlev's novel indicates the interconnection between Yakut literature and world literature. The use of universal archetypes points to the author's appeal to the primordial foundations of human experience, endowing it with universal significance and emphasizing life values. Such an approach to the study of literary works contributes to the investigation of the national and cultural features of the embodiment of universal themes.

The article explores the means of expressing epistemic modality in Russian scientific texts. The relevance of this study stems from the important role of epistemic evaluation of statements in academic discourse and the high interest of scholars in the problem of epistemic modalization of scientific texts. The aim of the study is to identify national and cultural characteristics of the use of epistemic markers in academic discourse. To achieve this goal, a comparative analysis of Russian research articles written by native Russian speakers and Chinese authors for whom Russian is a foreign language was conducted. Fifteen articles by Russian authors and 15 articles by Chinese authors, published in Russian scientific journals on linguistics, were selected for analysis. Particular attention is paid to identifying differences in the frequency and structural and semantic characteristics of epistemic indicators in the compared corpora of scientific publications. The study was conducted using quantitative and qualitative content analysis methods. The quantitative analysis of the empirical material was carried out using Voyant Tools. The scientific novelty of this study lies in the identification of the specific uses of epistemic modal devices in Russian by foreign authors compared to Russian authors. Differences in the functioning of epistemic modality indicators were identified, characterized by a lower frequency and less structural diversity of epistemic markers used by Chinese authors. These differences primarily concern the means of expressing problematic reliability, while no significant discrepancies were found in the functioning of categorical reliability indicators. In both corpora of empirical material, a quantitative predominance of means of marking problematic reliability over categorical reliability markers was established. A conclusion is drawn that these differences are related to the national and cultural specifics of scientific communication and that Chinese authors tend to use a lesser degree of subjective modality in scientific texts.

The subject of the study is the connection between folklore and literature. In particular, the problem actualizes that folklore not only preserves elements of the historical experience of narratives but also serves as a source of cultural values which evolve with transformations in the artistic consciousness. Through the works of A. S. Pushkin and the Tunisian writer Mahmoud al-Messadi, an analysis is made of how these elements combine to reflect social themes and character archetypes relevant to different cultures. The study aims to prove that recourse to folk traditions goes beyond their mere literary adaptation and becomes a bridge between cultural differences in the same and different national societies, forming a pattern in divergent literary traditions and playing a role in developing authorial identity. The main methods that allow us to study the influence of folklore on literary works include textual, historical-cultural and comparative analyses. They have provided the novelty of assessing traditional and literary heritage through an expanded understanding of how folk motifs function in different cultural contexts, emphasizing their universal moral significance. This evaluation reveals factors such as oral tradition, linguistic realization, symbolism of images, mythologizing, cultural identity, syncretism of cultural traditions, and others. The conclusions made during the study on the influence of folklore on literary creativity give grounds for emphasizing several key points: 1) connection of folklore and literary genres and styles, 2) joining the world literature wealth, and 3) overcoming cultural and linguistic barriers, 4) continuity and evolution of folklore. The dynamic nature of folklore may indicate a strong interrelation between them and modern literature. The study of such interrelations is the prospect of further research.

The subject of this study is the synonyms of the noun "illness" in the idiolect of F. M. Dostoevsky, compared with general usage, determined based on dictionaries and data from the National Corpus of the Russian Language. Of the large number of synonyms that existed in the Russian language of his time, the writer uses only five synonyms for the word illness, namely: nezdorov’ye (‘ill-being’), nedug (‘ailment’), nemoshch’ (‘infirmity’), nemoch’ (infirmity) and khvorost’ (‘sickness’). The aim of the study is to describe the specificity of the writer's idiolect, manifested both in the choice of words and in the distribution of their usage across different types of texts (fiction and epistolary). The type of text is significant for the writer's preferences: he uses some synonyms only in fiction (nemoshch’ – ‘infirmity’), nemoch’ – infirmity), while others are used primarily or exclusively in personal letters, referring to himself or his loved ones (nezdorov’ye – ‘ill-being’, khvorost’ – ‘sickness’). The study used general scientific and special methods of philological analysis: descriptive, quantitative, comparative, biographical; within the framework of the functional-semantic approach, lexical-semantic analysis with elements of component and conceptual analysis was used. The novelty of this work stems from the fact that, despite the significance of the theme of illness in F. M. Dostoevsky's fiction and life, the vocabulary of the corresponding semantic field has not yet been the subject of a dedicated linguistic study. The article identifies the specific features of the writer's idiolect within the vocabulary group under consideration. For example, F. M. Dostoevsky does not use the words zabolevaniye (‘disease’) and nedomoganiye (‘indisposition’), likely due to their literary nature. He prefers the less common khvorost’ (‘sickness’) to the colloquial khvor (‘sickness’). The most common word in the writer's idiolect (after the dominant illness) is nezdorov’ye (‘ill-being’), which is present primarily in his personal letters. It is typically used euphemistically in syntaxemes with the prepositions po, za, ot in the meaning of a reason (due to ill-being) and is accompanied by vocabulary indicating the failure to perform an action. The colloquial noun khvorost’ (‘sickness’) is used in a similar function and is present exclusively in the writer's personal letters. The words nedug (‘ailment’), nemoshch’ (‘infirmity’) and nemoch’ (infirmity) on the other hand, are found primarily in fiction. The usage of the words nedug (‘ailment’) and nemoshch’ (‘infirmity’) in the writer's idiolect differs significantly from dictionary definitions.

The article addresses the issues of verbalizing professional knowledge regarding the metaphorical origins of Spanish terms in the specialized language of architecture. It is established that the process of forming an architectural terminological system actively uses metaphorization, reflecting the features of professional thinking and facilitating more effective communication between specialists and between representatives of other scientific fields. The architectural metaphor, which serves as an effective cognitive mechanism for creating new concepts and an important component of the Spanish national linguistic worldview, is the subject of this study, the aim of which is to determine the specific nature of the relationship between everyday language and the specialized language of architecture. The awareness of the metaphor's ability to penetrate the essence of things and create a holistic picture by uniting heterogeneous components has led to an understanding of the role of metaphor in human cognitive activity and its use in the context of scientific knowledge for both processing new information and presenting it. The analysis of the factual material employed theoretical-analytical, descriptive, and semantic methods, comparative and cognitive analysis, as well as the method of full sampling and establishing metaphorical implications. The relevance of the work is due to the importance of identifying national characteristics in the field of terminology of specialized languages and the necessity of studying the processes of naming and professional communication from the perspective of the cognitive-communicative paradigm. The research material consisted of Spanish-language websites of tourism companies, architectural, explanatory, and bilingual dictionaries. Given the polycode nature of professional communication in architecture, which includes not only natural and graphic languages but also the languages of constructed objects, metaphorical images of architectural structures in V. Blasco Ibáñez's novel "La Catedral" were analyzed. According to the results of the analysis, the Spanish metaphor of the specialized language in the field of architecture, alongside clarifying the characteristics of an object through reinterpreting meanings and transferring the name of one object to another based on similarity and likeness, also reflects the historical, socio-cultural, and spiritual aspects of Spanish society.