No 10 (2025)

The subject of this study is the phenomenon of occasional use of the Spanish indefinite article with anthroponyms and the semantic effect of subjective evaluation it produces. Unlike previous studies that emphasized isolated stylistic cases, this article offers a comprehensive analysis of the mechanism as a systemic linguistic phenomenon. The research methodology is based on a combined application of descriptive and contrastive-descriptive methods within the framework of Guillaume’s psychomechanics of language. This approach makes it possible to analyze the linguistic material not as a series of exceptions but as the outcome of mental operations of actualization governed by the vector of extensivity/anti-extensivity. The practical analysis is carried out on a representative corpus of examples drawn from contemporary Spanish-language media, literary texts, and journalistic discourse. The novelty of the study lies in its proposal of a unified explanation of three types of evaluative meanings (referential-indefinite, metaphorical-typifying, and situational-role) through the prism of the anti-extensive function of the article in Guillaume’s system. This perspective reveals the underlying mechanisms of the transition of a proper name as an asemanteme into the status of a semanteme, a phenomenon that has not been given comparable attention in previous works, which often limited themselves to merely acknowledging the fact of antonomasia. The main findings of the research may be summarized as follows: the indefinite article functions as a grammatical operator that suspends the uniqueness of the referent and initiates a process of categorization, which serves as the basis for evaluation. Thus, the analysis of specific corpus examples confirms that the evaluative effect is systematically generated by a shift in the referential status of the name. The author’s distinctive contribution is to demonstrate that this phenomenon should not be regarded as a stylistic accident but rather as a regular instrument of expressive syntax, which is of relevance both for linguistic theory and for the teaching of Spanish as a foreign language.

In this article, the epigraph is actualized as a subject of literary studies, and the authors consider it as a way of presenting contextual content (a way of creating a special artistic space in a literary text). The purpose of this article is to identify the features of the epigraph as a contextual poetics technique in contemporary Mari poetry, using the example of one of its most prominent representatives, Albert Vasilyev. This is the first time that such a goal has been stated and implemented in regional and national literary studies. The study is based on the poems of the Mari poet Albert Vasilyev, which are included in his collections "Ushanyza" (Believe) (2007) and "Osh lumyshto chever polan" (Red Viburnum in the White Snow) (2017), which have an epigraph in their artistic structure. The research methodology is based on structural-semantic, historical-genetic, and contextual analysis of literary works. The study identified the main functions of the epigraph, and based on the study of this frame component, it determined the features of the Mari poet's cultural outlook (contextual competence) and the specifics of his artistic interaction with the authors he quotes. The authors of the article conclude that the epigraph in Albert Vasilyev's lyrical texts is an important and effective artistic device that represents various contexts (the author's cultural preferences, his worldview reflected in the ideological world of his works, the author's environment, the socio-cultural and ethno-cultural space, the ideological context, etc.). It has been proven that the epigraph actively contributes to expressing the author's position and the artistic idea of the lyrical work.

This article traces the evolution of the genre poetics of short prose by Zinaida Fedorovna Katkova, a Mari bilingual writer of the second half of the 20th century. Based on six of her short stories written between 1958 and 1979 ("The Stranger," "The Return," "Little Samar," "Help Me Fall in Love with You," "The Unexpected Guest," and "For the Sake of Love"), the article establishes a genre typology characteristic of the writer and identifies the specific features of the development of the genre content and genre poetics of the short story. The author focuses on such levels and properties of poetics as psychologism, composition, chronotope, and artistic detail. The article also explores the features of genre synthesis and the ways of forming subtexts, identifying the main vectors of genre transformation in short stories, from socially conditioned psychologism to existential psychologism, and from simple compositions to complex narrative structures. The methodological basis of this study is a synthesis of structural-semantic, historical-genetic, and comparative-typological analysis of literary texts that corresponds to the purpose of the work. For the first time, the development of Zinaida Katkova's genre poetics in her short stories has been analyzed, and it has been proven that Zinaida Katkova's short prose is a unique example of the consistent and organic evolution of the genre system in the Russian-language works of a national author. Zinaida Katkova's stories from the 1950s and 1970s not only demonstrate the growth of individual mastery, but also reflect the general trends in the development of Russian prose in the second half of the 20th century: the dynamics of psychologism from social reflection to existential self-reflection, the transformation of the chronotope from a closed space to an open and psychologized one, the complexity of the poetic system, which can be clearly seen in the change in the nature of artistic details, the movement towards complex genre synthesis and genre hybridization, and the increasing role of subtext. Zinaida Katkova's unique type of psychological story, which synthesizes the traditions of Russian classical literature and the peculiarities of the national worldview, is of significant interest for further study and deserves a worthy place in the history of Russian literature.

This study investigates the role of expressive syntactic constructions (ESCs) in conveying cognitive intentions (opinion, argument, supposition) in literary texts. Using Guzel Yakhina's novel «Zuleikha Opens Her Eyes» as primary material, the research analyzes the functional capabilities of specific syntactic devices including parcellation, repetition, rhetorical questions and exclamations, aposiopesis, ellipsis, inversion, and other constructions that shape the pragmatic dimension of character utterances. The analysis demonstrates that parcellation enhances emotional emphasis and renders character speech more dynamic and expressive; repetition underscores speaker persistence and conviction; while ellipsis creates effects of implication, uncertainty, or internal tension. Rhetorical questions and exclamations enable characters to express subjective attitudes toward events, whereas inversion structures utterances to foreground key informational elements. Collectively, these devices not only transmit characters' cognitive states but also model their interpersonal interactions, reveal social status and psychological traits, thereby constructing comprehensive representations of their inner worlds and emotional experiences. The methodological framework is grounded in a cognitive-pragmatic approach, which treats expressive syntactic constructions as means of expressing intentionality. The scientific novelty lies in systematically correlating syntactic tools with types of cognitive intentions, revealing consistent patterns between utterance structure and intentional content, while facilitating identification of distinctive character speech types. Findings indicate that expressive syntax serves to verbalize cognitive and emotional states, enhances textual expressiveness, models characters' inner worlds, and reveals their psychological portraits. The practical significance encompasses applications in literary analysis, psycholinguistic research, and teaching literary interpretation. Study limitations acknowledge the single-text basis of conclusions, which may reflect genre and stylistic specificities. Nevertheless, the proposed approach opens new perspectives for analyzing literary discourse through the dual lens of syntactic expressivity and cognitive intentions.

The subject of the research in the article is the chronotopic coordinates of the inner world of the story "The Queen of Spades" (1833) by A.S. Pushkin: the St. Petersburg "long winter night", the "locked door" and the numerical symbolism of time. All of them have previously been mentioned by domestic and foreign researchers of the text, but have not been analyzed in detail. In the present article, the specified chronotopic elements are considered systematically for the first time and studied in the context of Pushkin's work of the 1830s. In addition, the article focuses on the narrative organization of the text: the analysis revealed the specifics of the author's use of the lexemes "to seem" and "to appear" in the narrative fabric of the work. With the help of these lexemes, the author recreated the boundary spatio-temporal coordinates of the artistic world of "The Queen of Spades". The purpose of the study is to determine the chronotopic elements related to different genre models: a novella/non-fantastic story or a fairy tale/fantastic story; to understand the principles of interaction of genre elements and to comprehend the author's sense of life, which determined such a complex nature of the text. In this regard, a set of methods was used as an analytical tool: elements of genre and narrative analysis are in demand. As a result of the conducted research, it is concluded that the polygenre nature of "The Queen of Spades" is formed by the synthesis of genre elements and their controversy: in the inner world of a work of art, the fairy-tale chronotope "explodes" the everyday flow of life, and the everyday narrative narration slows down the energy of the fantastic and the fairy-tale. The polygenre nature of the text initiates an understanding of the chronotopic details of the work from several semantic angles simultaneously. At the same time, the narrator's point of view is a vital counterpoint, often expressed by the lexemes "it seemed" and "it appeared"; this narrative counterpoint is devoid of dogmatic omniscience, since the author is open to the entire diversity of Life. The results of the conducted research can be used for the lecture courses devoted to the study of the works of A.S. Pushkin and Russian prose of the 19th century.

The subject of the article is the narrative organization of the story by the famous Yakut writer Vasily Vasilievich Yakovlev "Kyttа kyrd'ybyt t өңkэ tiit" ("The Larch That Has Aged with Me"), which has a mythological basis. The myth serves as a starting point for creating original works that reflect not only universal human experience but also the unique vision of the world by a specific author. In studies addressing the interaction of mythology and literature among the peoples of the North, Siberia, and the Far East, conducted by literary scholars such as V.T. Petrov, N.N. Toburokov, V.B. Okorokova, A.N. Myreeva, P.V. Sivtseva-Maximova, N.V. Pokatilova, V.G. Semyonova, L.N. Romanova, and others, the source of the emergence and formation of literary tradition is identified as their oral folk creativity and mythology. A comparative analysis of the mythological allusions presented in the story is conducted in the context of the universal model of the monomyth established by American researcher Joseph Campbell. He proposed a psychoanalytic theory of monomyth— a single plot structure common to many mythological narratives, resulting from his work in comparative mythology. The novelty of this article lies in the fact that it first explores the universal aspects of the monomyth in Yakovlev's story "Kyttа kyrd'ybyt t өңkэ tiit" ("The Larch That Has Aged with Me"). In conclusion, we have come to the conclusion that the distinctive narrative and thematic foundation of the work serves as evidence of the author's myth-making character, reflecting the realities of the time and the culture of the people. The conducted research allows for the notion that the path of the old man Mikipper, the archetypal hero of the story "The Larch That Has Aged with Me" by Vasily Yakovlev, is a metaphor for the path of ancestors who inhabited the harsh land of eternal permafrost. This path, accompanied by overcoming difficulties, is reflected in the image of the majestic larch—a symbol of resilience and life force, which has sent deep roots into the eternal permafrost. The larch, aged alongside Mikipper, becomes not only a witness to his personal story but also an embodiment of the collective memory of the people, preserving memories of the struggle for survival and adaptation to harsh conditions.

The goals and subject of the research in this article are to study how China Media Group (CMG) achieves discourse expansion in the global media sphere. This research attempts to propose an explanatory analytical model, namely the "Three-Level Model of the Communication Mechanism of State Media Abroad + Triple Path of Discourse Expansion," which includes a "feedback loop" to form a theoretical closed chain. The article not only analyzes the methods of constructing CMG's discourse through institutional, operational, and platform mechanisms but also examines how the discourse reaches expansion through geographical, cognitive, and structural paths. Furthermore, it evaluates the limitations and tensions arising from feedback deficiencies and offers recommendations for future development. To conduct an in-depth analysis of the external communication mechanisms of China Media Group, this work employs a combined methodology, including literature review, discourse analysis, comparison of multilingual content, and case studies. The study is conducted in three interrelated dimensions: institutional frameworks, operational practices, and platform strategies. The innovativeness of this research lies in the construction of the "Three-Level Model of the International Communication Mechanism of China's State Media," unifying institutional factors, content production, and platform expansion into a single analytical structure. This allows for addressing the shortcomings of fragmented and one-dimensional analysis typical of existing studies. The results of the research show that China Media Group (CMG) effectively enhances the international recognition of the country's image through a unified system of narratives, multilingual information dissemination, and visual symbolism. However, it faces structural problems, including trust barriers, contextual differences, and insufficient feedback. In the future, China's external communication must shift from one-way information dissemination to discussed communication. This requires the involvement of multiple stakeholders, localized expression, and institutionalized interaction to facilitate genuine transformation of the cognitive representations of the global audience.

The article is dedicated to the analysis of the application of the method of conceptual analysis in the process of teaching reading in foreign language classes. Special attention is paid to the experience of linguistic and cultural studies in the practice of teaching English as a productive strategy aimed at helping learners master culture through the understanding of national and cultural concepts embodied in literary texts. The subject of this study is the process of forming lexical and linguistic cultural competencies of learners based on the method of conceptual analysis. The aim of the work is to reveal the linguistic and didactic potential of using linguistic research methods in teaching reading in English classes. The solution to the linguistic and didactic tasks of the research is based on methodological principles of communicative orientation, authenticity (relying on authentic text samples), and sociocultural conditioning. The methodology of the research employs a comprehensive approach that includes methods of analysis and synthesis of theoretical material, as well as conceptual and contextual text analysis. The scientific novelty of the work lies in the fact that it analyzes for the first time the linguistic and didactic potential of the concept of LAW in the context of teaching foreign language reading using the novels of Jeffrey Archer, "First Among Equals" (1984) and "Shall We Tell the President?" (1977). In conclusion, it is emphasized that the introduction of the findings and methods of cognitive linguistics in general, and conceptual analysis in particular, into the theory and practice of foreign language teaching, where the concept is viewed as a universal unit of knowledge formation, is a productive linguistic didactic strategy, and the methods of language modeling of concepts used in this work can be successfully transferred to other textual materials in foreign language teaching contexts.

The article is devoted to a comparative study of proverbs with a phytonym component in differently structured languages (using the example of the French and Uzbek languages). The purpose of the research is to study the manifestation of phytonymic components in proverbs based on the French and Uzbek languages as well as to systematize and analyze how phytonyms in proverbs reflect the worldview and life values of the two peoples. Lexicographic and electronic resources (phraseological dictionaries,Centre National de Ressources Textuelles et Lexicales, National corpus of the Uzbek language) served as the material for the study in order to identify conceptual images of phytonymic components in proverbs. The analysis uses the comparative method, the corpus analysis method, the continuous sampling method as well as the cognitive analysis. The scientific novelty lies in the fact that during the comparative analysis it was found that the phytonymic components in the proverbs of two different languages can be represented through conceptual images. The research identified the following groups of images in each language: image of a flower, image of a tree, image of a fruit, image of a grass, image of cereals, image of a vegetable. Having studied proverbs with a phytonym component we came to the conclusion that the formation of proverbs depends on intra- and extralinguistic factors, for example, the lifestyle of a people, their traditions and customs, mentality, attitude to the plant world as well as the importance of a particular plant for native speakers. Despite the cultural-specific features, phytonymic components in proverbs of two different languages play a common role - they convey deep philosophical ideas related to moral choice, fate, and human interaction with the environmental world.

The article examines the translation options for a Russian specific legal reality – uchastkoviy upolnomochenniy – and identifies the grounds for recognizing the option «a community police officer» as an optimal functional analogue. The purpose of the study is to determine the most adequate functional analogue of the term «uchastkoviy upolnomochenniy» in English. The object of the research is the institute of the community police officer in the Russian Federation and potential functional analogues of the verbalization of this concept in English. The subject of the study is the lexico-semantic and functional characteristics of five English terms – a divisional inspector, a precinct officer, a beat officer, a community police officer, and a local police officer – in comparison with the key features of the Russian concept of «uchastkoviy upolnomochenniy» of the police. The methodological basis of the study consists of lexicographic analysis applied to dictionary definitions, component analysis, functional and comparative analysis, statistical analysis of the frequency of use of the identified analogues. The study showed that there is no direct equivalent to the Russian term «uchastkoviy upolnomochenniy» in English, however, the terms «a beat officer» and «a community police officer» demonstrate the greatest functional similarity. The choice of a specific term in translation should be determined by the context, geographical region, and communicative purpose. Taking into account current trends in law enforcement activities focused on interaction with the community, the most appropriate analogue is a community police officer. The scientific novelty of the study lies in the systematic comparison of the institutional role of the Russian community police officer with English-speaking police positions based on the identified set of functional features. The results can be used in the preparation of official translations of regulatory, informational and diplomatic documents related to law enforcement activities, as well as in the educational process of educational organizations of the Ministry of Internal Affairs of Russia to accurately transfer the role functions of Russian police officers when interacting with foreign colleagues.

The article explores the semantics and pragmatics of expressing anxiety and concern in Russian and English film dialogues from a linguacultural perspective. Emotions such as worry and care are viewed not as spontaneous reactions but as culturally patterned communicative acts shaped by norms of politeness and emotional display. Drawing on examples from Russian and English films produced between the 1990s and the 2020s, the study identifies and compares the lexical, idiomatic, and pragmatic means used to express anxiety and concern. The analysis reveals that Russian discourse is characterized by emotional openness, hyperbolic idioms, and a strong orientation toward solidarity and sincerity, whereas English discourse favors restraint, conventionalized politeness formulas, and mitigation strategies reflecting autonomy and self-control. Despite these differences, both languages fulfill the same universal communicative functions of empathy and reassurance. The findings contribute to cross-cultural pragmatics, translation studies, and foreign language pedagogy by emphasizing the importance of linguacultural awareness in interpreting emotional speech acts. The aim of the present research is to identify and compare the linguistic and pragmatic means used to express anxiety and concern in Russian and English film dialogues. The object of the study is the verbal communication of emotional states in cinematic discourse, while the subject is the system of linguistic markers and pragmatic strategies that convey worry and concern in Russian and English. The hypothesis of the research is that the expression of these emotions reflects the broader cultural models of politeness and emotional regulation characteristic of each language community: Russian speakers tend to verbalize concern directly and emotionally, whereas English speakers often employ mitigated or conventionalized forms of expression.

This article examines the portrayal of romantic love in the works of P. G. Wodehouse, the preeminent English humorist of the 20th century. The concept of «romantic love» is considered through the lens of early German Romantic philosophy. By analyzing the works of F. Schelling, F. Schlegel, Novalis, as well as major scholarly studies on early German Romanticism, the article elucidates the Romantic concept of love. The image of romantic love in Wodehouse's oeuvre is analyzed using examples from different periods of the author's career, including early novels (Ruth in Exile, A Gentleman of Leisure), mature works (The Luck of the Bodkins), and later texts (French Leave, Money in the Bank). Particular attention is paid to the short story The Reverent Wooing of Archibald. The study employs the comparative method. Wodehouse's works are compared with texts by the early German Romantics and A. Tennyson, specifically his cycle Idylls of the King. Wodehouse's writing is also examined within the framework of Yu. N. Tynyanov's theory of parody. Drawing on existing scholarly literature, the article interprets the motif of chivalric love in Wodehouse's work. This study is the first in both Russian and international literary scholarship to focus specifically on the image of romantic love in his writing. While previous researchers have traditionally emphasized the comic aspects of love in Wodehouse's works, this article argues that irony and parody function not to diminish the concept of romantic love, but to reveal and revitalize it. This leads to the conclusion that the portrayal of love created by Wodehouse is unique in 20th-century literature. The findings of this research provide grounds for a partial reconsideration of the established view of Wodehouse's place in the 20th-century literary process and may be utilized in courses on the history of English literature.

This article is dedicated to the development of the theory of super-large test prose formations (supertexts), characteristic of the turn of the 20th and 21st centuries, as noted by a number of researchers. The subject of the study is a type of text ensemble that we define as a supertext. The concept of text and its essence are subjects of study in linguistics (text linguistics); however, in literary theory, there is some terminological chaos regarding the definition of the term "supertext" and its relationship with "supercycle" and "cycle," as mentioned above. It seems important to us to clarify the terminological apparatus of literary studies concerning the phenomenon of cyclization and its generated phenomenon—the supertext as a hyper-genre, which we will discuss in the article. In this work, the central term is "supertext" as a prose cycle; the aim of the study is to examine existing definitions of this concept and highlight essential features that distinguish what may initially seem like synonymous terminology, describing the principles of cyclization and the formation of large text formations in literary studies. The practical material consists of the novels of D. Rubina, E. Vodolazkin, A. Ivanov, M. Yelizаров, S. Lukyanenko, M. Semenova, A. Pehov, K. Demina, among others; "Gone with the Wind" and its related cycle; the cycle "The Vampire Diaries," "A Song of Ice and Fire," and their adaptations. The main methodology of the work includes the analysis of theoretical sources and their interpretation, scientific modeling, synthesis, and hermeneutic analysis of literary works. The article convincingly proves the existence in the modern cultural field of text formations that exceed the traditionally large form of the novel and/or epic novel, which we refer to as supertext. The result of the research is the clarification of the term supertext in literary theory, abstracting from the definitions proposed by linguists engaged in text linguistics. A key aspect is the proposal of an author's formulation of the term supertext within the framework of literary studies, which undoubtedly emphasizes the novelty and relevance of the work. The article describes the highlighted definitions of supertext, based on the processed textual material of contemporary works of domestic and foreign prose, and also proposes a basis for the classification of supertexts in modern literature while attempting to clarify the terminological apparatus of literary studies concerning related concepts: supertext, cycle, text ensemble.

This study is dedicated to a comprehensive analysis of the functions and artistic specificities of stage directions in A.P. Chekhov's dramaturgy. The primary focus is on the role of stage directions as a tool for creating comic effects and expressing authorial irony. Drawing on the writer's key plays ("The Seagull," "Uncle Vanya," "The Cherry Orchard"), the research examines how Chekhov uses stage directions to reveal the contradiction between characters' illusions and objective reality. Special emphasis is placed on innovative techniques: the use of perfective past-tense verbs (e.g., "both smiled"), which create an effect of finality and doom; carnivalesque elements that transform tragic situations into comic ones; and non-stage directions addressed to the reader rather than the viewer. The study demonstrates how stage directions serve as a means of covert authorial commentary, combining the objectivity of a playwright with the subjectivity of a writer. The research employs comparative text analysis, an intertextual approach, and contextual examination of stage directions. Methods include detailed analysis of specific examples from the plays, as well as references to critical literature for interpreting authorial techniques. The scientific novelty of the study lies in its comprehensive approach to analyzing stage directions as a key means of expressing authorial irony and the comic in Chekhov's dramaturgy. For the first time, the use of past-tense verbs in stage directions is examined in detail, creating an effect of finality and emphasizing the characters' doomed nature. Additionally, the work reveals the connection between carnivalesque elements and genre definitions, demonstrating how Chekhov blends the comic with profound psychological depth.The conducted analysis confirms that stage directions in Chekhov's plays are not merely technical elements but also crucial tools for expressing the author's perspective. They reveal the author's irony toward the characters, highlighting the gap between their illusions and reality. In "Uncle Vanya," stage directions contribute to the characters' spiritual catharsis, while in "The Cherry Orchard," they enhance the carnivalesque laughter that masks the tragic situation. Thus, Chekhov's stage directions serve as a bridge between epic and dramatic forms, allowing the author to maintain objectivity while simultaneously expressing his attitude toward the characters.

This article is devoted to a comprehensive literary analysis of the Russian-language novella "The Addressee Has Left" (1976) by Zinaida Fedorovna Katkova, a Mari bilingual writer of the second half of the 20th century, which is examined in the context of the phenomenon of "quiet prose" in Russian literature of the 1970s. The scientific novelty of this study lies in the first attempt to analyze this novella, which, like the rest of Katkova's Russian-language works, remains on the periphery of academic discourse. The purpose of this work is to identify and describe the holistic artistic system of the story, which is formed at the intersection of the classical traditions of Russian literature (I.S. Turgenev, A.P. Chekhov, etc.) and the poetics of Soviet "chamber" prose. The specific subject of research in this article is the poetics of the unsaid in the artistic system of the story "The Addressee Has Left." The methodological basis of this study is a synthesis of structural-semantic, historical-genetic, and comparative-typological analysis of literary texts that corresponds to the purpose of the work. The research proves that the dominant principles of the poetics of the unsaid in Zinaida Katkova's novel "The Addressee Has Left" are a retrospective composition that models the workings of a traumatized consciousness, a system of artistic images and details rich in symbolism, and the plot-forming role of subtext, which transforms silence into the main engine of conflict (the conflict unfolds not in the realm of eventful confrontations, but in the realm of unspokenness). It is noted that Zinaida Katkova's artistic world exists in an intensive, consciously constructed dialogue with the Russian classical tradition, which allows us to speak about deep-seated intertextuality as a crucial element of her poetics (the Turgenev paradigm, Chekhov's poetics, and the explicit archetypal elements derived from Russian literature). The article identifies the place of Zinaida Katkova's work in the literary process of her era and outlines some prospects for its further study. It is concluded that the story "The Address Has Been Removed" is a profound artistic exploration of the nature of human relationships, the fragility of mutual understanding, and ultimately, the possibility of redemption and forgiveness through the restoration of a broken connection, symbolized by a letter that finally finds its intended recipient.

This article is devoted to the study of the role of stating types of speech in travel texts. It has been revealed that a large number of descriptions of the landscape are inherent in travel reporting, as in it the author shares his personal thoughts and experiences from the trip. Description of the interior, portrait and description of the subject are more often found in travel essays and notes, as in them the author tries to convey not only the exterior of the building, but also the interior of the room, staff or interesting personalities. Description-characteristics are especially in demand in recommendations, as this genre is characterized by detailed descriptions of routes, localities, places to visit, costs, travel tips and reviews, since the texts of this genre contain deep author's reflections on events and vivid and memorable descriptions. The purpose of the work is to analyze the types of speech in correlation with the genre classification of travel texts. In the study, 107 travel texts from magazines and online platforms, such as Yandex, were analyzed using a descriptive method. Such as "Travel", "Around the world", "RUSSPASS" and others. The methodological basis for determining the ascertaining types of speech is the work of the O. A. Nechaeva linguistic school, which distinguishes the types of description (landscape, interior, portrait, subject, characteristic) and narration (specifically scenic, generically scenic, informational). A quantitative analysis of the distribution of speech types by genres of travel texts (travel essay, travel report, recommendation, review, note) was carried out. It was found that the genre of "review" is dominated by description (45%), and the genre of "recommendation" is dominated by narration (31%). In addition, the work revealed the peculiarities of using speech types. For example, a landscape description is typical for a travel report, a description of an interior, subject, and portrait is typical for a travel essay and a note, and a description-characteristic is more common in recommendations and reviews. Informational narration prevails in most travel texts, providing their informational function, while specific stage and generalized stage narratives convey the dynamics of events and the personal experience of the author. The research results can be applied in journalism and linguistics to develop techniques for creating and editing travel texts. For the first time, the study conducted a comprehensive analysis of the role of stating speech types in travel texts, including on the basis of a quantitative approach, which made it possible to identify their genre specifics and functional role. The study highlights the importance of combining textual and visual components to enhance the impact on the reader. Description and narration are integral and complementary components of travel texts that convey the atmosphere of travel and the author's personal experience. Their combination with visual elements such as travel photography enhances the perception of text, while maintaining the unique role of textual description in creating an emotional and aesthetic effect.

Ellipsis is a term for a number of linguistic phenomena when a sentence lacks a unit that would normally be obligatory, and it is nevertheless semantically reconstructed from the local syntactic or semantic context. Ellipsis phenomena are interesting from a linguistic point of view, since the meaning is still achieved despite the absence of an explicitly expressed unit. This leads to questions about how ellipsis is represented and how the interpretation of the omitted lexical material is reconstructed. In recent years, there has been a surge of interest in ellipsis phenomena in theoretical linguistics, which has led to many new discoveries regarding individual ellipsis phenomena. The subject of the article is the functions of ellipsis in colloquial, official-business, fiction, journalistic and scientific texts. The aim of the work was to establish that ellipsis plays different roles in different functional styles.This article presents various phenomena related to ellipsis in English, in particular the mechanisms that control ellipsis in various styles. Conversational, formal-business, artistic, journalistic and scientific styles are considered. The aim of the work was to establish that the ellipsis performs a similar role in different functional styles. To achieve this goal, the methods of literary analysis, comparative analysis, the method of selecting examples, and contextual analysis were used. The results of the study showed that ellipsis is used with different frequencies in different styles, but the effect achieved with the help of this phenomenon is similar and represents an increase in the brevity and economy of speech. The results of this study can be used in linguistics, translation studies, and cultural studies. Scientific novelty consists in a systematic comparison of the functions of ellipsis in different styles. Ellipsis is used to achieve different goals, one of the most important ones is brevity and economy of linguistic means, which are manifested in all functional styles.

The authors analyze the relationship between faith and religion in the novel "Zoo at the End of the World" by contemporary Chinese writer Ma Boyong. The study focuses on the poetics and thematic aspects of the work, focusing on the functions of fairytale and adventurous elements in constructing a plot based on the protagonist's journey to Inner Mongolia in the early 20th century to restore Christian churches destroyed during the Boxer Rebellion. The subject of the study: methods for formulating and addressing the spiritual and religious issues of Chinese society in the early 20th century. The aim of the study is to identify what narrative techniques based on the traditional fairytale narrative of travel were used to create the story, the functions of miraculous elements, and their connection to magical realism techniques, as well as to identify the specifics of the spiritual life of multi-confessional China during the difficult period of the collapse of its imperial history. The article demonstrates the work's place in the metamodern line of contemporary Chinese literature, employing the arsenal of techniques from previous postmodernist prose. At the same time, it not only raises serious issues of the relationship between faith and religion in China at the beginning of the 20th century but also evokes deep and sincere emotions toward the characters of the novel. Drawing on the events of the novel, the authors substantiate the idea that faith in goodness and supreme justice takes precedence over the formal demands of any given religion. The writer's idea is that at the core of any religion should lie sincere love for humanity and the world around us, the ability to forgive rather than punish, and the ability to live and work for one's faith and dreams. The author uses a comprehensive approach, including narrative analysis (fairytale journey motifs, adventurous elements), historical analysis (identification and interpretation of the historical moment reflected in the work), aesthetic and ethical analysis of the problematic, and a comparative-typological method for determining the synthesis of features of various literary movements. The scientific novelty of the article lies in the fact that for the first time, the problems of the relationship between faith and religion, reflected in Ma Boyong’s novel “The Zoo at the End of the World,” become the object of a special analysis in Russian Sinology: faith and spirituality in the context of the novel are considered not as synonyms for religiosity, but as its alternative. The problem of the relationship between faith and religion in Ma Boyong’s novel “The Zoo at the End of the World” becomes the center of attraction for all formal and semantic elements of the work, defining the general vector of movement of the author’s ideas of a complex metamodern text, combining elements of representation of traditional literary forms and the problems of choosing the true faith in the modern multireligious world.

The article is devoted to the analysis of the specifics of the framework text in Anna Akhmatova's poems, reflecting the anti-oppressive motives of her work in the era of the Great Terror, and the author's special communicative and creative strategy, which is the subject of research. Decoding hidden meanings, gaining understanding in the reader's environment and the commonality of context, perception of the epoch are important components of the self–determination of the poet – exponent of his time, therefore, for A. Akhmatova, the search for "his reader" was fundamental. Two strategies of interaction with the readership during the mass Stalinist repressions of 1937-1938, "in the terrible years of Yezhovism", generating two types of poetic texts: oriented to the future reader or to a narrow circle of close associates and not yet intended for publication, and ambivalent multifaceted works that are still within the framework of official discourse and are planned for publication, are identified, the selected analysis of which is presented in the article. By means of historical, biographical and structural analysis methods, it is proved that it is the elements of the text frame (titles, epigraphs, subheadings, dates) they become the most important semantic structures that perform the function of a semantic cipher capable of "sealing" the seditious meaning of the anti-totalitarian ideas and motives of the poetess, hiding them from censorship and, on the contrary, revealing them to a knowledgeable and understanding reader-friend as a kind of "Aesopian language". Special attention is paid to the disclosure of the features of the incorporation of such "filter codes" into the poetics of A. Akhmatova, which seems new and in demand in modern literary criticism.

This article examines the compositional and linguistic features of argumentative statements as a key component of scientific discourse. The aim of the study is to systematize the compositional and linguistic features of argumentative statements in scientific discourse and to identify the mechanisms for constructing effective argumentation in the scientific field. The object of the study is scientific discourse as a set of texts supporting the professional communication of scientists, within which argumentative statements are realized. The subject of the study is the compositional structure, reflecting the optimal communicative framework for interaction in the scientific environment, represented by a sequence of communicative tactics, and the linguistic means selectively used to formulate a persuasive statement. The study also examines the mechanisms of interaction between structure and linguistic means, which is a necessary condition for increasing the effectiveness of scientific communication. The methodological basis of the study is discourse analysis aimed at identifying argumentation strategies in scientific texts; a communicative-functional approach focused on identifying the communicative framework of the statement; and argumentation theory which proposes an initial nomenclature of arguments. Methods of compositional analysis, linguistic description, and identification of conceptual argumentation schemes are also used. Based on research articles, the following types of arguments were identified as recurring: appeal to authority, arguments from reality, arguments from effectiveness and consequences, inductive arguments, normative arguments, and arguments from balance. Stable correlations were also identified: argument from authority is combined with argument from effectiveness, argument from consequences, and normative argument; argument from reality is combined with inductive argument, argument from consequences, and argument from balance. Among the linguistic means supporting argumentation, authorizing constructions, means of textual cohesion, evaluative vocabulary, the modal meanings of necessity and the author's confidence in the veracity of the message, and terminological richness were identified. The scientific novelty of the study lies in its comprehensive approach to the study of argumentation, focusing on compositional blocks reflecting the communicative framework of the text and linguistic means aimed at convincing the addressee of the veracity of the message. The results may be useful to young scientists and should contribute to improving the quality of their scientific communication practices. For teachers, the results may be of interest in terms of methods for creating both written scientific texts and public presentations at conferences and symposia.

The object of study is the archetypal image of three sisters in Feodor Dostoevsky's novel "The Idiot", Feodor Sologub's novel "The Minor Demon" and Anton Chekhov's drama "The Three Sisters". Each of the three novels has undoubtedly attracted the attention of researchers many times, but the archetypal approach makes it possible to see familiar characters from the point of view of the manifestation of images of the collective unconscious in them. Special attention is paid to the technique of tripling the archetype, which was used in works of oral folk art, and evolved in literary texts, adapting to specific artistic tasks. Using the example of the image of three sisters in myths, fairy tales and literary texts, one can trace how the features of the archetypal sister are absolutized, and the image itself goes beyond formal kinship relations, acquiring truly supernatural power. The research is based on Carl-Gustav Jung's theory of archetypes and a mythopoetic approach to literary text. Author of the article conjectures that in Feodor Dostoevsky's novel, the three sisters are the most attractive of the "beginnings" of existence; in Feodor Sologub's novel they are depicted as seductive and sensual, in Anton Chekhov's drama they are ephemeral and pathetically unsuited to a rough life. But in all three novels we see common features: firstly, the three sisters always have an influence on the behavior of other characters.; secondly, they certainly fit into their environment as a harmonious part of it, they do not seem repulsive to others, although they may arouse suspicion, fear, even horror, but these feelings do not turn them into outcasts; thirdly, they are not only an instrument of fate, but also victims of it, they are not above fate and from they are not free.