Abstract: In recent years, cultural ties between different nations have been expanding. Concerts of Chinese national music are often held in Russian cities. Posters are distributed both through traditional methods and online. The question arises about which linguistic means allow Russian-speaking readers to learn about a new cultural experience and to make the description of Chinese musical tradition understandable and appealing. The subject of this study is the examination of the ways information about musical instruments that are exotic for the Russian culture is conveyed. It investigates the reasons for choosing lexical units to denote the instruments, as well as the formal and semantic adaptation pathways of borrowed lexemes in the Russian language. The material consists of vocabulary naming Chinese national instruments in concert posters written in Russian. The material was collected through a method of continuous sampling. Lexicographic, comparative, and statistical methods were used in the analysis. The article presents an analysis from different perspectives: it explores the types of conveying the sound of Chinese musical terms in Russian, searches for equivalents in Russian musical terminology, and examines the connotation of the titles of Chinese concerts. The novelty of the approach lies in the choice of material. Involving concert posters of Chinese national music allowed for a comprehensive analysis based on musicology and linguistics data. The investigation of the text and visual elements of the concert poster allowed for the following conclusions: the pragmatics of the national music concert poster lies in the fact that the text and visual elements not only convey precise information about the concert but also invite a wide audience of music lovers, arousing interest among Russian listeners. The names of Chinese instruments are given in transcription according to the Pallady system, and the processes of Russification are presented minimally. Units that, according to dictionaries, inflect, may appear in posters as uninflected, which also indicates the absence of Russification. The use of inaccurate equivalents for interpreting the meanings of exoticisms provides listeners with a general idea of the instrument but does not allow for a comprehensive and in-depth understanding of the character of the music being performed.

Keywords: calque, interpretation, exoticism, Russification, borrowing, musical terminology, non-equivalent vocabulary, transliteration, transcription, connotation

Abstract: The object of research in this article is a concept in the aspect of cognitive linguistics. In the middle of the last century, a cognitive field appeared in science, which unites many scientific disciplines. Cognitive science explores the human mind, its thinking abilities, consciousness, memory, etc. Language is used by humans not just to exchange information, it structures knowledge about the world. The concept is a basic concept of cognitive linguistics, combining language, consciousness and culture. The purpose of this article is to study the content of the concept and build its cognitive model using the example of the concept of "will", which will reveal the ways of structuring knowledge about the world, as well as the ways of their evolution. The methodology of conceptual analysis is based on the study of the meanings of words and expressions that actualize the concept in the language. Etymological analysis makes it possible to identify the central image of the concept, around which conceptual meanings are layered. The study of the concept of "will" in cognitive linguistics makes a significant contribution to understanding the interaction of language, thinking and culture, as well as to the development of methods for analyzing linguistic and cultural concepts. This study for the first time combines the analysis of the historical development of the concept with its cognitive structures such as metaphors, frames and prototypes, which allows us to create a comprehensive understanding of the concept of "will" in the Russian language. A comprehensive study of the ways and means of lexical expression of the concept of "will" reveals the conceptual content. All of the above determines the relevance of this article. The research results can be used in cognitive linguistics, psychology, and philosophy of language.

Keywords: meaning, anthropocentrism, conceptualization, the cognitive metaphor, metaphor, the frame, cognition, cognitive linguistics, conceptual feature, concept

Abstract: The article is dedicated to the analysis of occasionalisms in E.G. Vodolazkin's novel "Lavr" as a key element of the author's idiolect, representing the religious-philosophical discourse through the synthesis of archaic and postmodern linguistic strategies. The object of the study is the occasionalisms in E.G. Vodolazkin's novel "Lavr" as a linguopoetic phenomenon, while the subject of the research is their structural-semantic features and functional role in constructing the religious-philosophical discourse. The aim of the study is to identify the structural-semantic characteristics of occasional units, their role in the architecture of the text, and the transmission of worldview attitudes, which allows uncovering the mechanisms of language transformation into a tool of theological reflection. The key focus is on the multi-level classification of occasionalisms, revealing their systemic interaction: lexical-semantic (recontextualization, for example, "twofoldness"), morphological (archaic suffixes – "Rukinets"), syntactic (violation of agreement norms), and graphic (metatextual markers, for example, parentheses). The methodology combines linguistic-stylistic analysis of word formation models, taxonomies of occasionalisms based on N.G. Babenko's criteria with the addition of graphic types, as well as the interpretation of linguistic neologisms in the context of religious symbolism. The scientific novelty of the work lies in the interpretation of linguistic deformation as a mechanism of philosophical modeling, where occasionalisms transform the text into a space for dialogue between the material and the spiritual ("woodenness" as a symbol of asceticism), the historical and the eternal (allusions to the martyr canon of Trifon), language and metaphysics (the wordplay "kalachnik/kulachnik" as semantic deconstruction). During the study, it was established that occasionalisms perform a dual function: archaization (for example, "theologize," "child-loving") links the text to the church tradition, while neologization ("spiritual fall," "time counting") actualizes philosophical themes – eternity, metamorphosis, transcendence. The conclusions emphasize that the synthesis of tradition and innovation in occasionalisms forms the unique idiolect of E.G. Vodolazkin, where the language game becomes a tool for reflection on existential boundaries and opens up new perspectives for interdisciplinary dialogue between linguistics, theology, and cultural anthropology in contemporary prose.

Keywords: postmodern poetics, neo-hagiography, structural-semantic analysis, interdisciplinary studies, religious-philosophical discourse, language game, authorial style, graphic occasionalism, semantic occasionalism, occasionalisms

Abstract: The subject of the research is speech formulas of military origin as a specific class of idiomatic expressions characterized by fixed illocutionary force and direct correlation with the communicative situation. Unlike traditional phraseological units, which are predominantly classified by structural-semantic parameters, the speech formulas under consideration exhibit discursive dependence and demonstrate limitations on the realization of grammatical categories. The article provides a detailed analysis of six functional types of speech formulas: speech formulas-comments, speech formulas-performatives, speech formulas-stabilizers of emotional state, speech formulas of question, speech formulas of answer, and speech formulas of epistemic modality. These types of speech formulas are examined comparatively using data from the Russian and English languages, applying quantitative methods of analysis and verification through corpus research. The research methodology includes a continuous sampling method, semantic, etymological, discursive, and contextual analysis. To verify the selected units, a corpus analysis was conducted using the National Corpus of the Russian Language, the British National Corpus, and the Corpus of Contemporary American English. Speech formulas of military origin represent a discursively dependent class of idiomatic expressions with fixed illocutionary force, requiring a specific methodological apparatus for adequate linguistic description and analysis. The proposed functional typology, which includes six types of speech formulas, demonstrates the diversity of mechanisms of discursive dependence and the specificity of communicative functions that go beyond the traditional nominative function of phraseologisms. The quantitative distribution of speech formulas by functional types reveals a statistically significant similarity in Russian and English, indicating universal mechanisms of pragmatic adaptation of military vocabulary and phraseology when transitioning to everyday discourse. The poly-stylistic differentiation and precedent nature of the examined units allow them to be viewed as linguistic and cultural markers representing the ethnic linguistic worldview and military conceptual sphere in the collective linguistic consciousness.

Keywords: comparative analysis, communication situation, speech utterance, communicative act, military-professional sphere of communication, military phraseological expression, illocutive force, phraseological unit, speech formula, military phraseology

Abstract: The subject of this study is the methods and linguistic means of expressing comparative semantics. The object of the study is the language of V. Pelevin's artistic prose. The aim of the research is to identify the ways of expressing comparative semantics and to determine the specifics of their usage in Pelevin's prose. The author examines in detail the means of expressing the semantics of comparison that correspond to the lexical, morphological, word-formation, and syntactic levels of language. Special attention is given to lexical units with comparative semantics, prepositional-case combinations, and forms of the instrumental, genitive, and accusative cases, productive word-formation methods, stable combinations and expressions with the semantics of comparison, as well as syntactic means of expressing comparative meaning at the levels of simple and complex sentences. The material for the study consists of the artistic prose works of V. Pelevin, covering the period from 2015 to 2024. We employed methods of analysis, thematic classification and systematization of linguistic material, contextual analysis, and descriptive-analytical methods. The methodological basis of the work includes the works of V. V. Vinogradov, V. P. Vompersky, M. N. Krylova, A. E. Shevchenko, A. V. Tregubchak, and E. V. Pashkova, dedicated to the study of comparison, methods, and means of its expression. As a result of the study, the methods and multi-level means of expressing comparative semantics have been identified, and the specifics of their usage in Pelevin's prose have been determined. It has been established that comparative meaning is realized at the lexical, morphological, word-formation, and syntactic levels. The linguistic means corresponding to each of the specified levels have been identified and described in detail. The main conclusions of the research indicate that comparison in Pelevin's prose is expressed in various ways and means, reflects the perception of reality, and represents the author's worldview in the text, highlighting his creative individuality. The specifics of using linguistic units with the semantics of comparison lie in the choice of structural components of comparison, their semantic content, and contextual usage in accordance with the author's objectives for constructing the text and meaning. The scientific novelty of this study consists in the comprehensive examination and description of the methods and linguistic means of expressing comparative semantics as one of the most prominent features of the language of V. Pelevin's literary works.

Keywords: ways of expressing comparison, works of art, structure of comparison, metaphor, semantics of comparison, comparative meaning, comparative semantics, comparison, means of expressing comparison, prose of V. Pelevin