Abstract: The subject of study in this article is the specificity of color designation in the works of Mikhail Prishvin and Yuri Kazakov, dedicated to the North. Although it is known from Kazakov's own words that Prishvin's work significantly influenced his decision to travel to the North and his manner of seeing and writing about the North, the prose of these writers has not yet been compared in any considerable depth, and consequently, the nature of the influence has not been assessed. The material for comparison is limited to the best-known, though not the only, work by Kazakov about the North ("The Northern Diary") and the book by Prishvin that Kazakov directly mentioned ("Behind the Magic Ball"). Both works are considered crucial for the "northern text" from the perspective of modern humanities. In this study, without fully addressing the issue of Prishvin's influence on Kazakov, we focus on one aspect of this issue — a comparative analysis of color designation. The methodological choice is determined by the significance of color in the poetics of the landscape in Prishvin's and Kazakov's works (there are scientific works dedicated to this, but they are not of a comparative nature). The comparison revealed both common features and differences. Among the common features are the abundance of references to color and the predominance of certain colors in the palette. Differences are demonstrated through references to the color green (one of the most important: in Prishvin's book, there are 69 instances of green designation, while in "The Northern Diary" there are 45). It is found that in Prishvin's works, the color green has a symbolic meaning, denoting the energy of life and the native middle Russian forest, which is even recalled by the waters of the northern seas; "green" colors childhood memories and is part of key images ("green joyful heart"). In Kazakov's works, references to the color green form part of an accurate description of objects (Kazakov's strive for accuracy in description is manifested, in particular, in the abundance of complex adjectives, including occasionalisms). The meanings and connotations of "green" in Kazakov's works are very diverse and cannot be reduced to a common symbolic core (ranging from the "bright green" of grass, which the author clearly delights in, to the greenish, that is, spoiled, flour).

Keywords: the northern text, travelogue, color depiction, After the Magic Boll, The Northern Diary, Russian North, Yuri Kazakov, Mikhail Prishvin, landscape in literature, mythopoetics in modernist literature

Abstract: The article is devoted to the identification of links between Henri Mesсhonnic's anthropological theory of rhythm and the works of the Swiss linguist F. de Saussure and the Russian formal school. The relevance of the study is due to the fact that the reception of the works of Russian formalists in French verse studies has not yet been covered and requires systematisation. Mesсhonnic's criticism of R. Barthes's position on the ‘death of the author’ has made it difficult to accept the anthropological theory of rhythm in Europe and the USA. The significant presence of Russian material in Meschonnic's works slows down its reception in Russia as well, as it creates an illusion of lack of novelty. The subject of the study is the key concepts of the anthropological theory of rhythm in comparison with the terms ‘paragram’ and ‘value’ (Saussure) and the notions of ‘historicity’, ‘deformation of semantics’, ‘sound image’ (Tynianov), ‘euphony’ (Tomashevsky). On the basis of the comparative method, a conceptual analysis of theoretical and critical texts in French (Saussure, Meschonnic, Breal) and Russian (Tynyanov, Tomashevsky) is carried out with the involvement of historical and cultural context to clarify Meschonniс's position in the confrontation with French poststructuralists. Meschonnic's scholarly discourse includes terms of politics, sociology and philosophy, which is characteristic of the 60s, 70s. Meschonnic postulates that the subject of the poem is the ‘democracy of the poem’. The term oralité (l'oralité) is defined by Meschonnic as the relation of the rhythmic and prosodic component of the mode of signification (fusis-writing) to what a given discourse says (logos-writing). The clarification of Meschonnic's attitude to Saussure's concepts (paragrams, value) combined with the analysis of the main concepts of the anthropological theory of sound (the subject of the poem, prosody, rhythm, historicity, chains of consonant-vocalic organisation) makes it possible to clearly show the originality of the French poet's approach and the fruitful interaction between Russian and European scientific thought. The situation of moving away from nation-states and national systems of versification at the stage of development of transnational communities has created preconditions for fundamental changes in the interpretation of poetic writing, one of the variants of which is Meschonnic's anthropological theory of rhythm.

Keywords: Meschonnic, Russian formalism, French poetry, subjectivity, Anthropological theory of rhythm, value, anagrams, French theory, orality, voice

Abstract: The subject of the study is the features of pastiche of psychoanalytic and existential images in the latest novels of Boris Vian. The characteristics of the introduction of pastiche into the fabric of Vian's works demonstrate the innovative development of this technique, which was later recorded in postmodernist criticism. Pastiche in postmodernism is used as a way to talk about culture through its own languages, as a means of play with cultural codes, citation, and rethinking of the past, reflecting the idea of "the death of the author" and intertextuality. Vian's creativity, with its conscious imitation of styles, manners, elements of literary works, and movements in art, reworking already existing forms, permeates his entire literary heritage and, in a certain sense, anticipates postmodernist reflection. The aim of the study is to explicate the postmodern content of the novels "Red Grass" and "Heartfire." The methodology of the work is defined by the tradition of historical-literary research: the writer's creativity is examined in the context of the flourishing of existential philosophy ideas and in connection with the widespread dissemination of psychoanalytic methods characterizing the spiritual processes of his contemporary era. It has been revealed that the blending of fantastical techniques and real problems of personal alienation, integrated into the narrative fabric, allows the author to express his negative attitude and irony toward the "productivity" of psychoanalysis sessions and the "projectiveness" of existentialism ideas. The novelty of the work lies in decoding the meanings embedded by the writer into the existential problem of being in relation to death, the fullness of death, and the threat of obtaining an opposite result to all psychoanalytic attitudes, leading not to the individual's awareness of their problems in a positive direction toward the future, but to an even greater sense of emptiness. The article shows that the fantastic and psychoanalysis in Vian's latest novels intertwine into a unified whole and, behind the facade of the comedic and paradoxical, urge the reader to contemplate the right to intrude into the inner world of a person and the eternal problems of human existence in the world.

Keywords: absurdity, existentialism, Sigmund Freud, psychoanalysis, parody, pastiche, fantastic, Heartsnatcher, Red Grass, Boris Vian

Abstract: When studying the modern era, the topic of constructing social reality is increasingly raised. In this regard, it seems necessary to address a significant period in the development of Russia, when, after the collapse of the old order, a monumental task arose to create a new state and form a new mental space. The use of art not only as an aesthetic practice but also as a structure serving the ideological construction of social reality became a defining element of the cultural strategy of the Soviet state. Mythologemes – transformative universal mythological themes and images – played no small role in this, becoming the basis for the formation of a new collective consciousness. The article shows how the new Soviet space was illuminated, coded, and formed as an ideological product, as well as how creators of various forms of art used cultural space to express what Catherine Clark calls the "cartography of power" – the ideological landscape. In writing this article, the authors relied on the principle of historicism, which, combined with an anthropocentric approach and cultural analysis, allowed them to reveal the peculiarities of the functioning of mythologemes in the Soviet socio-cultural space of the 1920s and 1930s. A table was compiled to systematize the information. The main task of this research is to study the features of the use of mythologemes in various forms of art. In transitional epochs, the relationships between the old and the new, which is in the process of formation, are most tense and develop in a dialectical dialogue. The embodiment of ideas and words, the complex relationships between social ideas, their transformation into representations of the future world and the future person, not only in post-revolutionary art and literature but also in a broader historical and cultural context, is an extremely important topic for the entire revolutionary culture. The authors conclude that during times of revolutionary transformations, when social structures are being destroyed, traditions are rejected, and previous ethical norms and values are overturned, mythical rationality assists power in legitimizing the new political regime and, by interpreting reality, contributes to the unification of people.

Keywords: soviet woman, soviet man, Stalin, mental space, mythologems, Lenin, art, ideology, socialist realism, happy soviet childhood

Abstract: The present study is devoted to the literary and folklore heritage of E.Shemyazade, an outstanding poet and scientist of the Crimean Tatar people. The main aspects of his work are analyzed, including the synthesis of philosophy, lyrics and oral traditions, as well as their interaction and mutual influence. Special attention is paid to the issues of preservation and transformation of folk song culture, the role of dialectal and cultural features in poetic texts, as well as the influence of traditional ethnocultural heritage on modern Crimean Tatar literature, the main directions of E. Shemyazade's scientific research are revealed. The subject of the research is the poetics of traditional folk songs. The object of the research is the scientific heritage of E.Shemya-zadeh. The purpose of the study is to analyze the scientific works of E. Shemy-zadeh devoted to the issues of folk lyrics. The material for the study was the collection of articles "Edebiy ve tenkidiy makaleler" ("Literary and critical articles") (2000). The structural method was used as the main research method. The novelty of the research lies in the fact that we chose the poetics of folk songs in the scientific research of E.Shemyazade as its subject. Also, for the first time, the article systematically analyzes the main aspects of the relationship between the literary heritage of E. Shemyazade and the folk folklore tradition, and identifies the mechanisms and features of the use of oral forms in his poetic work. E. Shemya-zadeh's scientific research reflects the most important facets of the author's worldview, gives us the opportunity to see the features of his value system. The works of E. Shemya-zadeh introduced qualitatively new features in relation to the study of folk lyrics and cultural issues. According to E. Shemya-zadeh's research, the historically established system of genres of Crimean Tatar folk songs is undergoing changes. Stylistic changes affect the content of the songs.

Keywords: verbal repetitions, expressiveness, dialects, theory, transformation, traditions, reconstruction, culture, improvisation, folklore

Abstract: This study is dedicated to the analysis of the image of the noble estate in the early stories of Ivan Bunin ("Tanya," "At the Khutor," "In the Field"), with the aim of identifying trends in the transformation of the theme of the noble estate at the early stages of his creativity and revealing its multifaceted symbolic significance as a socio-cultural sign. The subject of the research is the image of the estate in the early stories of Ivan Bunin. This study reveals a triple philosophical dimension of the image of the estate in Bunin's early works: at the social level, it serves as a metaphor for class differences and contradictions (in the story "Tanya," the estate is contrasted with the starving village); at the existential level, it becomes a space where time freezes and life slips away (the existential reflections of Kapiton Ivanovich in the abandoned estate in the story "At the Khutor"); at the historical level, it symbolizes the inevitable disappearance of noble culture and the noble estate (the destruction of the estate Luchizarovka in the snowstorm in the story "In the Field"). The methodology of the research is based on structural-semantic analysis utilizing semiotic analysis. The emphasis is placed on identifying the symbolic meanings of the image of the estate, its connection to the characterization of the characters, the social context, and the philosophical issues. The scientific novelty of the research lies in the transformation of the estate from a static background into a dynamic "symbol of national memory," reflecting the decay of estate culture and spiritual traditions during the transformations in Russia at the end of the 19th century. The author of the research concludes that in Bunin's early works, the image of the estate is characterized by a preliminary sketchiness and indistinctness of outlines. At the same time, a dynamic development can be traced: the estate gradually transforms into an organic component of the spiritual world of the main character. In the works of Bunin during this period, the image of the estate already demonstrates a tendency toward decline. In the conclusion of the research, it is emphasized that the depiction of the estate in Bunin's early works not only constructs cultural memory in a certain historical context but also lays the groundwork for the theme of the "noble estate" in Bunin's creative path.

Keywords: the decline of aristocratic estates, In the Field, At the Khutor, Tanhka, manor image, Russian manor estate, early short stories, Bunin, evolution of the estate, symbolism

Abstract: The subject of the research is the translation of syntactically non-standard prose of 20th-century French literature into Russian. The object of analysis is syntactic deviation as an expressive means and its transformation in the translation process. The author examines in detail such aspects as the strategy of translating syntactic deviations, their adaptation or preservation depending on the stylistic guidelines of the original text, as well as the degree of translation normativity in the context of intercultural communication. Particular attention is paid to the influence of genre specificity and the intended readership on the choice of translation strategy. The focus is on the methods of conveying the rhythmic-intonational structure, expression and non-standard construction of the phrase, characteristic of the prose of Guillaume Apollinaire. The analysis is based on the material of the novel "Les Onze Mille Verges" and its Russian translation by Arnaut Skard-Lapidus. The work highlights the problem of compromise between the normativity of the target language and the preservation of the author's expression, revealing translation as a form of interpretation with a certain aesthetic and functional vector. The methodological basis of the study is a comparative analysis of the original and translation, a linguostylistic approach and principles of functional equivalence, which allow us to identify translation transformations at the level of syntax and stylistics. The main conclusions of the study are the confirmation of the hypothesis about the translator's dual strategy: the desire to preserve the syntactic expression of the original while simultaneously adapting the text to the norms of the Russian language. The author's special contribution is the systematization of approaches to the transmission of syntactic deviations and the identification of the dependence of these approaches on genre-stylistic and cultural parameters. The novelty of the study lies in the comprehensive analysis of one work in the original and translation at the level of syntax, as well as in highlighting the problem of stylistic norms in the translation of experimental prose.

Keywords: difficulties in translation, translation strategies, stylistics, adaptation, expression, Arnaut Skard-Lapidus, intercultural translation, Guillaume Apollinaire, non-standard syntax, translation

Abstract: The object of this study is speech acts with a dominant advisive intention used by representatives of official services and administrative structures in the texts of messages related to the flooding in the Orenburg region in 2024. As the subject of this study, the features of the functioning of advisive speech acts in crisis discourse affecting such a natural disaster as a flood in a certain area (using the example of the Orenburg region) are considered. At the same time, advisive speech acts are considered as three-component formations consisting of informative, actually communicative and intrusive components and having special signs in their composition that actualize certain targets of manipulation by a mass recipient. The hierarchy of relevant manipulation targets includes ethophysiological manipulation targets (instincts, needs, basic emotions) and socially conditioned manipulation targets of the mass recipient. The study uses an anthropocentric approach based on the belief that there is an average intentional portrait of a mass recipient with certain peculiarities of perception of manipulative messages. The novelty of this work lies in the use of an anthropocentric approach to study advisive messages with a hidden manipulative intention, as well as in the research material consisting of a corpus of texts that appeared as a result of the emergence of a new type of discourse - crisis discourse a natural disaster (for example, the flood of 2024 in the Orenburg region). In addition, for the first time, the study highlights speech tools of various levels that actualize the targets of manipulation by the mass recipient, which are characteristic of the subspecies of the crisis discourse being highlighted. A classification of these tools is proposed based on the features of the structure of advisive speech acts, the informative and intrusive components of which include special actualizers-nominees and actualizers-associates with the intended producer of the corresponding manipulative messages by distant and contact communicative effects.

Keywords: recipient of the message, advisive intention, speech act, obligatoriness, categoricity, status of the producer, manipulation target, speech manipulation, producer of the message, discourse

Abstract: The article discusses the diversity of sources in data journalism (Big Data). The research showed that journalists actively use open government database sources, commercial sources, social media, and user-generated content. The characteristics of each type of source, as well as methods for collecting and analyzing them, are identified. An analysis of data handling practices was conducted, highlighting key problems and challenges. Special attention is given to verifying the accuracy of information and adhering to journalistic ethical standards. The theoretical significance of the work lies in the systematization of knowledge about types of data sources in journalism. The practical significance of the work consists of developing recommendations for journalists on the effective use of diverse data sources. This helps avoid errors in information processing, improves verification processes, and enhances the quality of produced materials. Journalists will be able to analyze data better and present information in an accessible and understandable manner. The theoretical and methodological foundation of the study comprises general scientific methodologies of historical-philosophical analysis and general theory of cognition. The methodological basis of the article consists of works that describe the evolution of big data. As a result of the study, it was established that the diversity of data sources has a significant impact on modern journalism. Journalists use various types of data: open government databases, commercial sources, social media, and user-generated content. Each of these sources requires an individualized approach to the collection, verification, and analysis of information, resulting in more accurate, objective, and high-quality journalistic materials. The results allow for the conclusion that the proper use of different data sources enhances audience trust and improves the quality of journalistic publications. The classification of sources and the analysis of methods for their collection and processing help journalists better navigate the vast flow of information and choose the most reliable data for their materials.

Keywords: data analytics, journalism ethics, accuracy check, information verification, social media, open data, data sources, data journalism, digital tools, investigative journalism

Abstract: The subject of the research is the locations of mythological space in the tales of P. P. Bazhov and the linguistic means of their explication in the text. The object of the study is the category of mythological space in the tales of P. P. Bazhov. The author examines the concepts of mythological space and location in contemporary humanities at a theoretical level. The article systematizes the main mythological locations in the tales of P. P. Bazhov, related to mythological characters such as the Mistress of the Copper Mountain, Babka Sinyushka, Devka-Azovka, and others. Special attention is paid to the linguistic means of explication in the tales of P. P. Bazhov. Based on the identified means, the main features of the mythological space in Bazhov's tales are noted – vast sizes, precious stones as the main material, cold or, conversely, warmth. The foundation of the research methodology is the method of categorial-textual analysis from the Ural school of linguoculturology (T. V. Matveeva, T. V. Itskovich, and others), which was used to uncover the main linguistic means of explication of mythological space locations in Bazhov's tales. The novelty of the research lies in the identification and systematization of the mythological space locations reflected in the tales of P. P. Bazhov, as well as in the systematization of the main linguistic means of explication of these locations. The mythological space of P. P. Bazhov's tales has rarely been the subject of linguistic studies before, thus the article aims to reveal a new aspect of Bazhov's creativity. The mythological space or fantastic world of P. P. Bazhov's tales is indirectly addressed in contemporary studies in literary criticism and linguistics, reflected in the works of L. I. Stepanova, A. I. Shchukina, E. V. Kharitonova. The mythological space in the tales of P. P. Bazhov is usually studied in the context of the mythological characters of the tales, through Ural mythology, which is characteristic of the works of E. L. Berezovich, E. E. Ivanova, and other researchers.

Keywords: Mistress of the Copper Mountain, mythological characters, mythological space, space, Malachite box, Ural, tale, folklore, Pavel Petrovich Bazhov, Ural mythology

Abstract: The study of the means of representation of intertextuality in polycode media texts is being updated in connection with the need to understand the mechanisms of influence on the mass audience and to create effective advertising campaigns. The subject of the research is the means of representation of intertextuality in German-language polycode media texts presented in the format of native advertising. The aim of the work is to identify and describe the means of representation of intertextuality in German-language polycode native advertising media texts, reflecting the cultural characteristics of German-language advertising discourse. Various types of intertextual connections and the ways they are implemented at verbal and non-verbal levels are considered. In the age of digital media and information saturation, native advertising is becoming an increasingly common and sought-after communication tool. The effectiveness of native advertising is largely determined by its ability to integrate into the media context, using various strategies, including intertextuality. The role of intertextuality in creating a positive brand image is analyzed. Examples of the analysis of specific advertising campaigns are provided, illustrating the use of intertextuality to enhance the attractiveness and memorability of the advertising message. A comprehensive approach was used in the study, including methods of content analysis, discourse analysis, semiotic analysis, and linguistic stylistic analysis. The fundamental methodological approach is the principle of intertextuality, combined with the theory of polycode (M. V. Verbitskaya). The effectiveness of advertising will be measured through brand recognition and audience engagement by means of a statistical analysis of comments, likes, reposts, and link clicks. The novelty of the study lies in the comprehensive analysis of the means of representation of intertextuality in polycode native advertising media texts, using German-language material as an example. For the first time, a systematization and classification of various types of intertextual components actively used in native advertising has been conducted, with an in-depth analysis of their role in shaping a specific impact on the mass audience. Culturally specific features of the use of intertextuality in German-language native advertising have been identified, which allows for a deeper understanding of its effectiveness within the cultural context of the German-speaking space. The results of the study showed that intertextuality allows for the successful integration of advertising into the media context, making it more attractive to the target audience. Conclusions have been drawn that the effectiveness of the use of intertextuality depends on the level of cultural competence of the recipient, enabling them to correctly interpret intertextual insertions and extract the intended meaning of native advertising. The results of the study have practical significance in the field of marketing linguistics.

Keywords: emotional specificity, positive image, non-verbal level, verbal level, German language native advertising, media text, polycode text, intertextuality, cultural competence, influence