Abstract: The article is dedicated to the study of communication and institutional mechanisms for the distribution of royalties in the Russian digital music industry. The subject of the research includes communication practices and intermediary interactions between artists, labels, distributors, and streaming platforms that determine the promotion of musical content and the distribution of royalties. The aim of the study is to determine how the communication system and platform intermediaries influence the visibility of musical content, the growth of streams, and the subsequent distribution of royalties among participants in the digital music industry. It has been established that digital automation does not eliminate the importance of the human factor: transparency of payments is largely provided by managers, lawyers, and label specialists. The role of social media, short vertical videos, pitching, and internal team communication in increasing streams is specifically highlighted. The conclusion is made about the nonlinear relationship between an artist's media capital and the volume of royalties. The main empirical method was semi-structured expert interviews with representatives of the music industry. The processing of empirical material was carried out using thematic and comparative analysis, which allowed the identification of recurring themes, stable expert assessments, and key problematic areas in communication between artists, labels, distributors, and digital platforms. The main conclusions of our study are that the distribution of royalties in the digital music industry cannot be viewed solely as a financial-contractual procedure. It is formed at the intersection of platform algorithms, contractual relationships, distribution, the artist's communication with the audience, and interaction with professional intermediaries. The novelty of the research lies in viewing royalties as a mediated practice that depends not only on the number of streams but also on the platform visibility of musical content, the quality of pitching, social media activity, label work, and the artist's ability to interpret digital reporting. It has been shown for the first time that the opacity of royalty distribution is related not only to the closed nature of economic calculations but also to the communication asymmetry between platforms, distributors, labels, and artists. The study highlighted the key role of the human factor: managers, lawyers, and label representatives effectively act as translators of platform logic into the language of the artist's practical solutions.

Keywords: royalties, music industry, streaming platforms, digital commerce, mediatization, distribution, record label, platform economy, social media, communication

Abstract: The subject of the research is the features of wordplay in Spanish-language advertising, considering the established national mentality. In the modern market space, based on the interaction between the consumer and the seller, and the pre-determined functioning of the laws of supply and demand, the linguistic design of advertising serves as an effective means of influence that stimulates sales. Wordplay, as a combination of functional-linguistic means with varying degrees of expressiveness, involving conscious violations of language norms and communication rules, is used to attract consumer attention by creating a non-trivial, memorable image. The relevance of the study is explained by the comprehensive application of wordplay in Spanish-language advertising, which ensures a better impact on consumers and encourages them to purchase goods (services) through a combination of expression, humor, comedy, and vivid images and visuals used in advertising. The main methods applied in the research process include the dialectical method, which revealed the peculiarities of wordplay techniques in commercials broadcasted through the information and communication network "Internet"; and a systematic approach, which allowed the structuring of advertising through the prism of wordplay combinations used in the Spanish-speaking space. The novelty of the research lies in its practical content, which allows evaluating the effectiveness of wordplay not only in Spanish-speaking advertising but also using these techniques in the Russian-speaking consumer market to encourage the acquisition of goods and services by customers. Based on the results of the conducted research, it can be said that wordplay in Spanish-language advertising serves as a means of influencing the recipient buyer. Wordplay carries pragmatic and cognitive meanings. In the first case, it is about forming an objective understanding in the consumer of the necessity to acquire the advertised product. The cognitive aspect is expressed in the conscious use of frequent fixed expressions that the Spanish-speaking audience resorts to in communication with each other. As a result, a structure is employed where the original expression is converted into an acceptable and comprehensible model for Spanish-speaking consumers for the creation of advertising slogans. Irrelevant phrases in the advertising context are replaced with appropriate terms that are understandable to the audience from the standpoint of national mentality.

Keywords: advertising message, unique image, advertising text, compound word, antimetabolism, recipient consumer, semantic structure, attracting customer's attention, informational message, dilology

Abstract: The article is devoted to the study of monolingual Chinese dictionaries of chengyu from the 20th century (成语词典). The object of the study is Chinese chengyu dictionaries published in the 20th century, while the subject is their macro- and microstructure, as well as the principles of lexicographic description of chengyu. The goal of the research is to identify changes in the macro- and microstructure of chengyu dictionaries, as well as the reasons behind them. The tasks of the research include analyzing 20th-century chengyu dictionaries, determining factors that influenced the change in the principles of dictionary representation of chengyu, and establishing the relationship between the development of lexicography, particularly phraseography in 20th-century China, state policy (including language policy - the appearance of the pinyin phonetic system in 1958), and changes in the dictionaries. The article employs the following scientific methods: descriptive and comparative. The material of the research consists of monolingual (i.e., Chinese-Chinese) chengyu dictionaries from 1916 to 1995. It was found that: 1) macrostructural changes are due to language reforms; 2) the main principles of chengyu description in dictionary entries were formulated by the mid-1950s; 3) the microstructure of chengyu dictionaries consists of mandatory elements: headword, phonetic characteristics, interpretation of components, general interpretation, and examples, while in early dictionaries illustrative material was combined with information about the origin of the chengyu. Subsequently, dictionary entries expanded to include (optional) information about lexical variants (也作 / 又作), possible errors (正误), etc.; 4) changes in chengyu dictionaries occurring in the second half of the 20th century are largely influenced by political processes in the PRC and are reflected in the illustrative material (the emergence of quotes from the works of Lu Xun and Mao Zedong). The scientific novelty of the research lies in the fact that it is the first attempt at a comprehensive analysis of the evolution of Chinese chengyu dictionaries in the 20th century. A direct connection has been established between the political situation in the PRC and the development of phraseography in 20th-century China. The results of this research can be used in lectures for Russians studying Chinese and for Chinese speakers learning Russian.

Keywords: chengyu dictionary, chinese phraseography, vocabulary entry, language policy, Cultural Revolution, chinese lexicography, microstructure, macrostructure, dictionary structure, lexicographic principles

Abstract: The subject of the study is the names of neurological and mental diseases and disorders that appear in all texts of F.M. Dostoevsky. Based on data from explanatory and medical dictionaries, as well as the National Corpus of the Russian Language, a comparison is made between the usage of the studied vocabulary in the writer's texts and how these lexemes are presented in modern dictionaries and corpus sources. The aim of the work is to describe the peculiarities of F.M. Dostoevsky's individual linguistic consciousness within the framework of all his texts, which manifests itself in the choice of lexical units. The focus is on parameters such as the lexicographic fixation of these units, their frequency, contextual compatibility, and their functioning in the writer's idiolect. This comprehensive approach allows for the identification of quantitative and qualitative differences in medical vocabulary across text genres. The article relies on a range of general scientific and specialized philological methods (descriptive, quantitative, comparative, biographical), as well as contextual analysis and the definitional method. The novelty of this article lies in the fact that these units are analyzed as linguistic objects based on a wide range of sources, including artistic prose, personal letters, and the writer's diaries. The findings confirm that the vocabulary denoting neurological and mental diseases and disorders in Dostoevsky is a significant component of his idiolect, reflecting his experience and the medical discourse of the 19th century. The analysis of dictionaries, corpora, and contexts revealed patterns: Dostoevsky uses terms in direct, figurative, metaphorical, and ethical senses (such as paralysis, melancholy, mania, delirium tremens). The choice of lexemes depends on the time of their appearance; for example, stroke, hypochondria, and depression are absent, while epilepsy is frequent, which corresponds to corpus data. In artistic prose, illness serves a plot function, while in letters, it reflects personal experiences (acquired epilepsy). The frequency of epilepsy (62 instances in artistic prose, 66 in letters) indicates the significance of the illness in life and creativity. The studied vocabulary in Dostoevsky represents a complex semantic system that includes medical, psychological, ethical, and autobiographical aspects, allowing for the analysis of the representation of illness in 19th-century Russian literature and the creation of a dictionary of medical vocabulary.

Keywords: idiolect, semantic field illness, F. M. Dostoevsky, nervous illnesses, mental disorders, falling sickness, epilepsy, stroke, hypochondria, delirium tremens

Abstract: The research is relevant due to the continuing interest in the issue of national identity within contemporary socio-political thought. The formation of Russian national identity at the turn of the 18th and 19th centuries provides a deeper understanding of the roots of contemporary debates on Russia’s identity. An analysis of the views of N. M. Karamzin, one of the first Russian humanities scholars to systematically reflect on the American experience, provides a key to understanding how conservative criticism of the bourgeois West took shape and how the idea of Russia’s ‘special path’ was justified. The aim of this study was to analyse the evolution of perceptions of America in N. M. Karamzin’s journalistic writings and letters from the late 18th to the early 19th centuries. The study employs a cultural-historical approach, which allows for the reconstruction of the intellectual context of the era and the identification of the influence of European Enlightenment ideas on the formation of Karamzin’s image of America, as well as a hermeneutic method which enables the interpretation of Karamzin’s journalistic texts. The article shows that the evolution of N. M. Karamzin’s views on the United States (hereinafter referred to as ‘America’) reflects a journey from enlightened curiosity to ideological criticism. In Letters of a Russian Traveller America is presented not as a geographical entity but as the source of an attractive political model, personified in the hero and Enlightenment figure Benjamin Franklin – this is the perspective of a young liberal. A radical shift in N.M. Karamzin’s views took place during the publication of The Herald of Europe (Vestnik Evropy) (1802–1804). Fearing a repeat of the horrors of the Revolution in Russia the mature Karamzin, now a publicist, no longer sees the American republic as an ideal but as the triumph of bourgeois materialism where the ideals of the Enlightenment are expressed through the cult of property and the ‘spirit of commerce’. Even the figure of George Washington serves for him as a proof of the utopian nature of the project, which demands ‘extraordinary’ heroism from its citizens merely for its very existence. Following the departure of such a leader Karamzin believes, the republic inevitably descends into selfishness and utilitarianism. Karamzin takes this criticism to its logical conclusion in an allegory about ‘a fish inseparable from an insect’, in which America represents an unnatural symbiosis and parasitism, a grotesque dystopia disguised as freedom. Thus, for the later Karamzin America is a negative example, an anti-model. Its path based on individualism and the ‘spirit of commerce’ serves as the main counter-argument in favour of Russia’s paternalistic path, with its ideal of service and its thousand-year-old tradition of autocratic rule.

Keywords: N. M. Karamzin, America, republic, autocracy, national identity, the ‘spirit of commerce’, patriotism, conservative criticism, the Russian path, Enlightenment ideology

Abstract: The subject of this study is the transformation of corporate communications against the backdrop of the emergence of metamodernity as a new sociocultural paradigm that shapes value systems, models of interaction between organisations and the public, and approaches to constructing corporate identity. The aim of this article is to identify the interrelationship between the shifts in worldview characteristic of the modern era and changes in the principles underpinning corporate communications. The research methodology is based on an interdisciplinary approach combining a comprehensive analytical method, the analysis of theoretical and empirical materials, a review of the academic literature, and the case-study method. The empirical basis consists of examples of communication activities by Russian and foreign companies, including corporate communications, media publications, social media content, visual and verbal communications, as well as event-based projects. The scientific novelty of this study lies in the application of the philosophical concept of metamodernism to the interpretation of contemporary corporate communications. It is proposed that these be regarded as a meaning-making practice that integrates value-based narratives, the economy of impressions, digital formats of interaction, public art and participatory practices. The main conclusions of this study are that the development of the metamodernist paradigm is driving a shift in corporate communications from the dissemination of standardised messages towards a value-oriented dialogue based on authenticity, empathy and the co-creation of meaning. It is argued that impression ceases to be merely a tool for attracting attention and becomes a mechanism for building trust, a sense of belonging and symbolic resilience. The findings can be utilised in the development of corporate communication strategies and brand development in conditions of high socio-cultural uncertainty.

Keywords: corporate communications, modernism, postmodernism, metamodernism, BANI world, creative industries, experience economy, public art, new sincerity, sense-making