Abstract: The subject of the article is a profound analysis of Stalin's influence on the artistic conflict presented in the novella "Belshazzar's feasts" by F. Iskander. The main objective of the research is to identify how the political figure of Stalin shapes and develops the artistic conflict in Iskander's work. The obtained results not only reveal the significant impact of Stalin on the characters and events in the examined piece but also highlight key directions of the artistic conflict, emphasizing its dynamics within the context of historical heritage. Stalin plays a significant role in shaping the plot lines and characters, and his influence extends to all aspects of the work. The obtained results cover a broad area of literary studies, providing valuable material for criticism.Additionally, this article may prove beneficial to authors, graduate students, and scholars deepening their understanding of the literary process. The research methodology encompasses a literary-critical approach, structural analysis, psychological aspects, semiotics, and the study of symbolism. This investigative work not only reveals Stalin's influence on the artistic conflict in the novella "Belshazzar's feasts" but also opens a new level of understanding of this impact. The analysis confirms that Stalin is not merely a presence in the work but genuinely acts as a significant catalyst, shaping and stimulating the development of the artistic conflict. This contribution makes a meaningful impact on literary studies, providing a profound understanding of the influence of historical figures on the creative process. Unveiling how political figures affect characters, plot, and the overall atmosphere of a work enriches the methodological arsenal of literature researchers. This approach not only offers a fresh perspective on Iskander's creativity and its interaction with historical context but also enhances the overall comprehension of how political histories are reflected in artistic creations.

Keywords: feast, semiotics, intertextuality, psychological analysis, artistic conflict, Belshazzar's feasts, power, Uncle Sandro, Fazil Iskander, Stalin

Abstract: This work is carried out within the framework of the current direction of modern philological science related to the study of local supertext (local text) in the national literatures of Russia. The subject of the research in the article is the "Sernur text" in the lyrics of the modern Mari poet Zoya Dudina, considered by us on the material of her poems included in the collection "Kuanyshym, kuemndal..." (Rejoiced, hugging a birch...) (2012). In this aspect, the lyrical works of this author are studied for the first time in the Mari literary science. The article identifies, describes and analyzes the main components of the "Sernur text" (images, motifs, artistic details, author's assessments and the ideological and conceptual component of individual lyrical texts and the collection as a whole), their place in the artistic structure of Zoya Dudina's lyrics. The methodology of the research consists of a historical-genetic and structural-semantic analysis of the author's lyrical texts, which allows us to identify and describe the structural and semantic levels of the "Sernur text", textual elements of the local subtext, revealing the author's concept of the world and man, the character of the lyrical heroine. The most important textual elements of the "Sernur text" in Zoya Dudina's lyrics are toponyms and anthroponyms and related spatial and character images – reconstructing/ transforming their primary etymological or real meanings, expressing one or another author's axiology. The main meaning of the "Sernur text" is summarized in the very title of the book (rural space, the land of ancestors, the Mari world), which carries the idea of the lyrical heroine's "merged" life with the Mari world and the world of nature. The structural and semantic levels of the "Sernur text" and textual elements of the local subtext (images and motifs, artistic details, documentary realities, framework components, etc.) reveal the author's concept of the world and man, imbued with respect for folk mythological culture and ancestral memory, their reflection in modernity, as well as the character of the lyrical heroine Zoya Dudina, marked by a genuine and grateful love for his native land.

Keywords: poetic, the motif-shaped system, toponyms, local subtext, Sernur text, local text, Zoya Dudina, lyrics, modern Mari literature, the author's axiology

Abstract: Napoleon's "Civil Code" is a fundamental work of European legal thought. M.M. Speransky, appointed by Emperor Alexander I to the Commission for Drafting Laws, of course, could not help but refer to this text; moreover, he actively used it when drafting his famous "Draft Civil Code", but revised many of its provisions when adapting it to the class-based Russian society. Nevertheless, the influence of the Code on Speransky's "Draft" was so noticeable that it caused sharp rejection in conservative circles. The main opponents of the Secretary of State were N.M. Karamzin and A.S. Shishkov, who criticized the "Draft". When writing this article, the main method was the method of discourse analysis. This method, the subject of which is traditionally defined as "speech immersed in life", made it possible to study the extralinguistic aspects of the texts of participants in the communicative field in political disputes around the legislative initiatives of M.M. Speransky in terms of their correlation with Napoleon's Civil Code. Also used were such methods as content analysis, biographical method, comparative-historical and contrastive. Despite all the similarities, the positions of Karamzin and Shishkov differed. If Shishkov categorically did not accept any changes to Russian statehood, defending the need to preserve its absolutist inviolability, then Karamzin, who admired Robespierre in his youth, then idolized Napoleon, openly declared his republicanism. The ambiguity of his position, which has been repeatedly noted by researchers, is fully explained by the phenomenon of the development of republican thought of that time, which is shown in the article. Speransky, responding to criticism of the "Project Code", stated that all such projects are similar, since they have Roman law as their source. But this was not important for his opponents, who used all available tools to discredit him.

Keywords: the era of Alexander I, liberalism, conservatism, republicanism, A. S. Shishkov, N. M. Karamzin, M. M. Speransky, Napoleon's Civil Code, Law Drafting Commission, political discourse

Abstract: The subject of theoretical research is the structural components of a journalistic interview. The purpose is to reveal the stages of the formation of a journalistic interview and analyze its content from the point of view of psychological effects (emotions, ideas about the subject of the interview). Five stages of the formation of the interview as an autonomous journalistic genre are considered. The main stages of such development are indicated as: 1. Interview-transcript, 2. Interview-quote, 3. Interview-questionnaire and 4. Interview-impression. The analysis is based on the content components of the interview and the main objectives of creating the text. The content and process of a modern interview is described within the framework of the Johari Window communicative model, four communicative spaces are described, the main vector of the interview development is indicated, as well as communicative tools for working with each of the allocated spaces. The research methodology is based on the principles of communication studies: the intentionality of mass media texts, information management, social constructivism (socio-psychological construction through media texts). The Johari Window model is used to describe the communicative processes of a modern journalistic interview. Within the framework of the model used, the interview is interpreted as a process of systemic expansion of the Arena space. It is concluded that the interview appears as a non-linear dialogue process with targeted psychological effects of emotional reactions of its participants, subjective interpretation of events and facts, as well as empathy (involvement) of the audience in the interview process. The study can be used for psychological analysis of interviews, as well as for educational purposes in the course "Media Psychology".

Keywords: media psychology, Unknown Area, Hidden Area, Blind Area, Free Area, Johari's Window, interview-impression, journalistic interview, media, communication

Abstract: The object of the study is one of the most common genres in the poet’s work - interviews. The subject of the study is the study of the texts of the poet’s interviews, the main themes and motives of his conversations with journalists and correspondents. The article examines such aspects of the topic as issues and tasks of the development of literature (Dagestan, Soviet, world), as well as the socio-economic and political realities of people's lives. Particular attention is paid to identifying the poet’s attitude, his views, opinions on the ongoing literary and socio-political events in Dagestan and Russia. Through philological and descriptive methods of analysis, genre varieties of interviews in the work of R. Gamzatov, their forms and types were identified: oral (by telephone, radio and television interviews) and written, given to printed publications (conversations, interview messages, questionnaires, press conferences, round table). The main layer of materials consists of traditional interviews in the form of conversations with journalists and correspondents. Based on the study, we concluded that this genre has a wide range in the work of R. Gamzatov, has different types and forms, represents valuable material for researchers in terms of a comprehensive study of his work, identifying views and opinions on current problems of the time, social, literary events, and also has information about the life and work of the poet, his relationships with colleagues, friends, and relatives. The scientific novelty lies in the fact that the genre of interviews in the work of R. Gamzatov has practically not been studied; we are introducing it into scientific circulation for the first time; researchers have ignored this side of his work due to its unsystematization.

Keywords: opinion, appeal, thoughts, decline, economy, topic, interview, tasks, development, literature

Abstract: The subject of the study is the communication aspect of branding. The object of the study is a social brand in a communication environment. The authors consider branding in detail as one of their areas of communication activity, turn to the history of the emergence of the concept of "brand", identify the main areas of research on branding in Russia as a communication technology. Special attention is paid to the study of the concepts of social responsibility, as well as the concept of "social brand". The study identifies the main areas of social responsibility of modern business. The emergence of the phenomenon of "social brand" is associated by the authors with the implementation of the ideas of social responsibility. As an example of a social brand, the article considers a social project – Gazprom for Children. The authors have identified the characteristics of the social brand that the named social project possesses. Through the implementation of a social project, the image of the company is formed in the eyes of the general public. The research was carried out using general scientific methods. In particular, the methods of analyzing the concepts of brand, social and commercial brand, and social responsibility are applied. The analysis of these concepts required their simultaneous comprehension in interrelation and interaction, thus, the synthesis method was used. The methods of analogy, the method of system analysis, the method of structural and functional analysis were also used. The main conclusions of the study are: the absence in modern science of a clearly formulated concept of "social brand" and its characteristic features; the formation of ideas about a social brand is caused by the purposeful implementation of socially responsible behavior by companies; the transmission of social responsibility forms a social image of the company in the eyes of the public, which positively affects the attitude towards it. The communication component of social responsibility is actively manifested in the provision of non-financial reporting to the general public. It has been established that not every line of activity implemented within the framework of social responsibility acquires the image of a social brand. A special contribution of the authors to the research of the topic is the formulation of the definition of the concept of "social brand", the establishment of the relationship between social responsibility and social brand, the identification of the main characteristics of a social brand and its communication potential. The novelty of the research lies in the fact that it presents the author's vision of a social brand through the prism of communication activities.

Keywords: the public, social image, socially significant problems, social report, communication, social project, social responsibility, branding, non-financial reporting standards, social brand

Abstract: Special attention is given to analyzing research on hints as a form of indirect communication. There are differences in hint definition and research methods among scholars from different linguistic paradigms and countries. The focus of hint research within the linguistic paradigm remains on defining and classifying hints, considering concepts within different paradigms such as semiotics, semantics, pragmatics, psycholinguistics, sociolinguistics, and cognitive linguistics. The objectives of this study are: 1) to summarize the extent to which the category of hint has been studied by scholars in China, Russia and Western countries within the linguistic paradigm; 2) to compare and contrast the methodological principles and techniques of hint research. Besides, based on the results of the research, the article pays special attention to the study of hints within the framework of linguistic pragmatics. The following research methods were used in this study: descriptive method, comparative analysis and generalization method.The author's special contribution to the study of the topic is: 1) presentation of different understandings of the definition of the category "hint". In linguistic pragmatics, a hint is a speech act that indirectly conveys information and emotions and influences the addressee's state; 2) identification of criteria for classifying a hint. The criteria are centered on two aspects: "context" and "intention"; 3) determination of types and kinds of hints. Different forms of innuendo in dialogic lines and Textual Fragments are highlighted. The novelty of this study is to point out the integrative role of linguistic pragmatics in the study of indirect speech acts. In addition, the nature of different types of hint is established based on objective and subjective factors, i.e. different intents of the speaker and contexts.

Keywords: hint classification, context, speech act, indirect communication, linguistic pragmatics, communicative linguistics, pragmatic aspects, intention, subjective hint, objective hint

Abstract: The work is devoted to the specifics of the transfer of semantic and pragmatic features of proper names or onyms. Onyms are a special category of lexical units with a number of specific characteristics that require detailed work by linguists in their (onyms) transmission. The purpose of the study is to identify and describe the features of the transfer of proper names from English to Russian in the modern discourse of video games. The object of the research is the modern discourse of video games in English and Russian. The subject of the study is the semantic and pragmatic features of the transfer of proper names from English to Russian. The source of the material of this study was a video game product in the RPG genre "Disco Elysium". Proper names in the context of the events of the game are of particular importance for immersing the recipient in the plot of the work, as they reveal the details of the plot and the world as a whole. Therefore, it is important to correctly convey the meaning of the name so that the correct pragmatic effect is produced. To achieve this goal, a three-stage structure was developed to identify semantic and pragmatic correspondences of synonyms in the language of the source text and the translated text. The novelty of the designated topic lies in the fact that for the first time an analysis of the features of the transfer of onyms from English to Russian, a description of translation strategies and tactics when working with proper names within the framework of video game discourse is carried out. Having analyzed the work of domestic and foreign scientists we understand a complex multidimensional phenomenon that functions inside a video game and a significant near-game space. From the analyzed material, it can be concluded that the greatest difficulties are caused by the transfer of aliases, or names associated with abstract concepts. The differences are manifested at the semantic, stylistic and pragmalinguistic levels. It is important when working with these units to convey the main nominative meaning of the original and its hidden meaning. The main translation techniques for transferring proper names from English to Russian, in this case, are semi-scaling, transliteration and functional substitution. The transfer of other names that are not marked with the above features does not cause difficulties. Transliteration, transcription, calcification and the creation of a neologism are used.

Keywords: Internet discourse, videogame discourse, transcription, Disco Elysium, proper name, onym, pragmatics, semantics, semantic-pragmatic features, translation loan

Abstract: This article is devoted to the study of translation methods of direct speech lexemes from Russian into Chinese on the material of F.M. Dostoevsky's “Crime and Punishment” and L.N. Tolstoy's “Anna Karenina”. The author relies on a previously conducted comparative study of the repertoires and frequency of lexemes introducing direct speech in the Russian original texts of these two novels, and describes the methods of translation, comparing the strategies of translators in different versions of translations of classic Russian novels. The most famous translated versions of F.M. Dostoevsky's and L.N. Tolstoy's novels in China are selected for analysis. This article analyzes the translations of the novel “Crime and Punishment”, translated by Ru Long (汝龙), the joint translation by Zhu Haiguan (朱海观) and Wang Wen (王汶), and the novel “Anna Karenina”, translated by Cao Ying (草婴), translated by Yu Dawei (于大卫). The study found that stylistic adaptation is often used in Russian-Chinese translation. It is noted that “说” and “道” are widely used in literary works - translators add these words, which meets the requirements of completeness and adequacy. It is noted that adverbs become a common means of conveying internal and external qualification of action in translations, which allows to convey the meaning of the text in accordance with the narrative norm of the Chinese language. Comparing the translations of “Crime and Punishment” and “Anna Karenina” into Chinese through the “mirror” of translation allows us to examine the manner of introducing direct speech in both writers and see that its difference creates more (when translating F.M. Dostoevsky's novel) or less (when translating L.N. Tolstoy's novel) difficulties in translating the speech frame and sometimes prompts translators to different solutions.

Keywords: Tolstoy, Dostoevsky, novel, characteristics, translation, dialogue, verb, Chinese language, direct speech, phraseologies

Abstract: The subject of the study are sets of linguistic units that convey different types of content. The purpose of the paper is to study the official functional style in connection with its internal heterogeneity. Although functional stylistics has received a detailed description as a philological discipline which concerns itself with the varieties of developed literary languages, the issue of the internal heterogeneity of functional styles still remains unresolved. The novelty of the paper lies in the fact that it shows the heterogeneity of the official functional style. The practical significance of the work is due to identifying the varieties of the official functional style, which is carried out in the paper and which helps to optimize the choice of teaching material depending on the needs and on the general linguistic competence of students. To solve the task, an integrated approach to the study of the material was chosen: the method of linguostylistic and functional-stylistic analysis, the method of continuous sampling, the descriptive-analytical method, as well as the comparative analysis of texts. It has been established that texts belonging to the official functional style can be divided into three groups (prescriptive official texts; descriptive official texts; evaluative official texts) in accordance with the proportions of linguistic components that perform the main functions of language and render a certain type of content.

Keywords: terms, formal words, type of content, intellective function, functions of language, official functional style, functional style, functional stylistics, linguostylistics, stylistically neutral words

Abstract: The subject of the study is the understanding of the historical in the work of the English writer Julian Barnes. The author analyzes Barnes' methods of working with historical material on the example of the novel "The Noise of Time" (2016). Special attention is paid to Barnes' attitude to the problem of historical truth. The writer's work is traditionally considered in the context of narrativistic concepts of historiography. Barnes is indeed associated with them by some characteristics: textuality of history, secondary interpretation, variability of the past, addition of historical reality by fiction. This article hypothesizes that Barnes' use of narrativistic concepts is largely declarative. He deliberately uses them and parodies them, but Barnes' ultimate goal is not to recognize epistemological helplessness, but on the contrary, to try to find at least elements of the authentic in history. The methodology underlying this study is based on a cultural and historical approach. The compositional analysis of the novel "The Noise of Time" in combination with the intertextual analysis of Barnes' other works revealed a common understanding of the historical in the writer's work. The main contribution of the study is the description of Barnes' special, complex and sometimes contradictory attitude to the question of historical truth. Despite the obvious use of the provisions of narrativistic historiography, the writer remains an attentive historical reenactor. The exposure of the techniques of the narrativistic philosophy of history becomes, among other things, a warning for him. Barnes demonstrates the mechanism (in fact, the rewriting of history), but behind this is the desire to convince the reader to be harder in search of the truth and not to fall into the "traps" that the authors of historical narratives set. Thus, Barnes once again implements his creative program: removes the historical plot "from the anchor of history" and expands it to existential significance. Shostakovich's biography becomes for him a way to contrast "the noise of time" with "the whisper of history", and music and love with tyranny and fear.

Keywords: Julian Barnes, truth, historical relativism, historical understanding, new historicism, philosophy of history, postmodern literature, narrativistic historiography, Shostakovich, the noise of time

Abstract: This article is devoted to the study and analysis of artificial languages, namely artlangs, which are used to create a unique setting and functionality in computer game discourse (using the example of the computer game “Chants of Sennaar”). The object of the study is arlangs in computer game discourse. The subject of the study is the functional features and roles of artlangs in computer game discourse, their world-forming and plot-forming functions. To analyze the classification and functions of artlang in the virtual space of a computer game, the authors of the article use an integrated approach (integrative, exploratory and configurative) in order to identify lexical, grammatical and syntactic features of artlangs, as well as take into account their connection with game mechanics, in-game space and the communicative reality of computer games. Linguistic analysis in the article is based on a comparison of 5 artificial languages specially created for the game in question, each of which has its own unique functionality and structure that reflect the specifics of the group of characters that use it. The scientific novelty of the work lies in the fact that the authors of the study tried to deduce the universal and specific characteristics of artificial languages (artlangs) in computer game discourse. The authors conclude that computer-gaming discourse offers a fundamentally new, different from fiction, interactive space for the creation and functioning of artificial languages, as well as for conducting unique linguistic experiments at the intersection of grammar, morphology and semantics. In addition, the authors concluded that the implementation of these artlangs within the framework of all three approaches (integrative, exploratory and configurative) allows fictional languages (artlangs) to fully function and develop as independent linguistic systems, enriching the gaming experience and constructing a new communicative reality.

Keywords: interactivity, game mechanics, game discourse, computer discourse, artlang functions, artlang taxonomy, artlang, conlang, artificial language, integrative approach

Abstract: The subject of the study is the analysis of the grotesque and fiction as artistic methods by which Konstantin Konstantinovich Sluchevsky transforms real loci in his early poetic works. Special attention is paid to the study of how Sluchevsky uses grotesque images and fantastic elements to create a unique poetic space that combines elements of reality and an imaginary world. The study analyzes key motifs such as life and death, eternity and the moment, as well as their intertwining in the spatial and temporal structures of poems. The research is aimed at revealing how the poet expresses his existential reflections through the grotesque and fiction, creating complex, multidimensional images and transforming everyday spaces into philosophical categories. The work uses an integrated approach that includes elements of structural and semiotic analysis of a literary text. The methodological basis of the research is the theory of the grotesque and fiction, as well as research in the field of space poetics. The novelty of the research lies in the fact that for the first time a detailed analysis of the use of the grotesque and fiction as key artistic methods in the poetic work of Konstantin Konstantinovich Sluchevsky is carried out. Unlike previous studies, where attention was paid to the general themes of his poetry, this study focuses on specific means of transforming real loci through which the poet creates a philosophically saturated and multi-layered poetic space. The author demonstrates that Sluchevsky's grotesque and fantasy are not just stylistic techniques, but full-fledged tools for rethinking such fundamental categories as life and death, being and non-being, eternity and transience. This study deepens the understanding of how Sluchevsky, through artistic means, forms a special poetic reality where the boundaries between the real and the fantastic are blurred, which allows the reader to immerse himself in existential reflections on the nature of human existence. This approach opens up new horizons for the study of his work and emphasizes the importance of these methods for understanding the deep philosophical aspects of the poet's lyrics.

Keywords: Symbolism, Life, Death, Reality, Space, Lyric poetry, locus, Fantasy, Grotesque, Sluchevsky