Abstract: In contemporary dance cinema, camera movement is no longer a neutral recording tool or decorative device, yet its narrative nature remains theoretically unexplored. Existing research focuses on creative methods and the analysis of individual works, leaving fundamental questions about how the camera participates in narrative and how the meaning of its movement is formed unanswered. This article aims to construct a theoretical model of camera narrative in dance cinema, examining it as an independent object of narratological analysis. The object of this study is dance cinema as a form of audiovisual art in which bodily movement is the primary narrative vehicle. The subject of this study is the narrative potential of camera movement in dance cinema, specifically its mechanisms, structural relationships with bodily narrativity, and the conditions for meaning-generation in viewer perception. This study draws on the framework of film narratology, specifically the structural analysis of narrative instances and the theory of medium, and introduces an operational distinction between the bodily and cinematic narrative lines, drawing on V. Iser's reception theory to analyze audience perception. This approach allows for a systematic description of the interaction between these two lines through temporal and semantic relationships. The novelty of this work lies in the fact that chamber narrativity in dance cinema is examined for the first time as an independent theoretical object from the perspective of narrative semiotics. Three principles have been formulated as a result. First, the principle of narrative media, i.e., the functional adaptation of the camera in three dimensions: angle, direction, and speed. Second, the principle of double narrativity, which implies four models of interaction between the bodily and cinematic lines, producing a range of effects from amplification to ambiguity. Third, the principle of narrative reception, which represents a reading mechanism that takes into account bodily empathy and the conditions of unsuccessful reception. Thus, the main conclusions are that these three principles form a closed cycle of “ability :: structure :: meaning-generation”, opening up space for a fundamental theory of dance cinema and taking the research beyond the scope of applied methods.

Keywords: dance cinema, camera narration, dual narration, narrative medium, narrative reception, narrative semiotics, corporeal narrativity, reception theory, meaning‑generation, cinematic language

Abstract: The object of this study is the linguocultural aspects of the attribution of a literary text, while the subject is the system of discourses through which they are realized, creating a real or imaginary image of its author. The research is conducted on the material of the text "A Novel with Cocaine," whose authorship has not yet been fully established. The aim of the study is to establish a connection between the linguocultural features of this novel and the presumed authorship of three contenders for it. The work examines in detail the system of discourses in this work, through which a real or imaginary image of the presumed author can be formed. Special attention is paid to the interrelationship between language markers that "reveal" its author(s) (features of vocabulary, syntax, figurative-expressive means, architecture, etc.) and the identification of culturally significant details: the realities of the era, autobiographical elements, the author's mentality, and the cultural codes of their environment. The following methods are employed in the study: descriptive, discourse analysis, linguocultural, autobiographical, semantic, and interpretative analysis. The scientific novelty lies in the fact that the work directly investigates the connection between linguocultural studies and the attribution of a literary text for the first time, where the attributed text is viewed as a holistic unity of language and culture, containing "traces" of its author, making it possible to judge them as a real person. The main conclusions of the study are that, firstly, "A Novel with Cocaine" is the quintessence of the "literary war" that took place at the turn of the 1920s and 1930s between V. Nabokov and his literary opponents, and secondly, this work, in the person of the main contender for its authorship, V. S. Yanovsky, represents a creative manifesto of the "unnoticed generation," demonstrating the ability to write in a beautiful classical literary tradition, which he was often criticized for neglecting.

Keywords: attribution, mystification, discourse, autobiographism, syntax, linguoculturology, text, key signs, allusion, stylistics

Abstract: The subject of the research is the ways of representing national and cultural values in sports broadcasting as a multimodal text. The object of study is the live broadcast of a friendly football match between the national teams of Russia and Iran, which took place on October 10, 2025. The aim of the work is to identify how the interaction of visual, auditory, and verbal components forms a semantic field that transmits national and cultural values, using the Russian national team as an example in the specified match. Special attention is given to the study of the parallel interaction of various sign systems at a single point of screen narrative. An important aspect of the research is the examination of the combination of shot size, commentator intonation, and kinesic elements that convey the emotional state of both the players and the fans. The relevance of the topic is due to the fact that modern sports broadcasting is not only a tool for transmitting information but also a complex organizational system that includes verbal, visual, graphic, and auditory support. This factor allows for a full representation of national and cultural values, which can be traced in the example of the 2025 Russia-Iran friendly match. The methodological foundation is based on a multimodal approach that allows for the examination of sports broadcasting through visual, auditory, verbal, kinesic, and graphic elements. The key method of analysis is the multimodal transcription by Anthony Baldry and Paul Thibault, which involves breaking the video into frames and describing the interaction of elements within it. The novelty of the research lies in the application of the multimodal transcription method by Anthony Baldry and Paul Thibault to sports broadcasting featuring the Russian national team, which allowed for the identification of non-obvious mechanisms of interaction between visual, auditory, and kinesic elements at the micro-level of frames when representing national and cultural values. The author demonstrates that the key carrier of value meanings is not only the verbal component but also the combination of various codes, the parallelism of their interaction with each other, and the emphasis on state attributes. It is concluded that the tools for representing national and cultural values are mostly revealed through the decoding of indirect or oppositional correlation of verbal, non-verbal, and other elements. The results obtained can be used in the analysis of the media image of Russia in sports discourse.

Keywords: multimodal text, multimodal transcription, sports broadcast, sports journalism, frame, national cultural values, sports discourse, media communication, verbal-visual complex, media text

Abstract: The aim of the research is to identify the features of the spatial cultural code of the concept WOMAN in the English and Tajik linguistic cultures of the 20th century based on artistic texts. The linguistic means of representing three loci – "home," "path," and "nature" – are analyzed in the novels of D. Lessing "The Golden Notebook" and G. Safieva "Zanoni Sabzbahor." Methodologically, the study relies on lexical-semantic and comparative approaches, conceptual analysis, and modeling: for each locus, a complete sampling of contexts (20-35 units) was conducted, and the vocabulary was verified using explanatory dictionaries (OED, Фарҳанги тафсирии забони тоҷикӣ). The scientific novelty of the study lies in the introduction of the concept of "locus profile" as a three-dimensional model for describing gender-spatial structures. The obtained profiles reflect the dominant scenarios in the texts examined and require verification on an expanded corpus. Research methods. The study employs methods of conceptual analysis, linguocultural interpretation, semantic analysis of spatial vocabulary (based on data from explanatory dictionaries), and comparative analysis. The scientific novelty of the research consists in the introduction of the concept of "locus profile" as a three-dimensional model for describing gender-spatial structures, including the parameters of centripetal/centrifugal force, sacralization/desacralization of everyday life, and involvement in kinship/isolation. In the English linguistic culture represented in D. Lessing's novel, a predominantly centrifugal model of spatial representation of women is identified, characterized by a weakening attachment to home, an increase in motives of isolation, and existential disorientation. In the Tajik linguistic culture represented in G. Safieva's novel, a transitional, ambivalent model is identified, where traditional family-tribal involvement is combined with a woman's desire to change her spatial situation. The obtained profiles reflect the dominant scenarios in the texts examined and require verification on an expanded artistic corpus.

Keywords: concept of WOMAN, Cultural code, Spatial cultural code, profilic locus, English linguoculturology, Tajik linguoculturology, locus home, locus path, locus nature, linguoculturology

Abstract: The study aims to identify the culturally conditioned features of the linguostylistic realization of employer branding strategies within British and Chinese recruitment discourse. The subject of the study is the written form of recruitment discourse, specifically, job advertisements, while the object comprises the linguostylistic means used to shape a positive employer image, categorized across four levels: lexical-semantic, stylistic, syntactic, and structural-compositional. The study addresses a number of objectives: it defines the hypernym-hyponym relationships between the terms "business discourse," "recruitment discourse," and "job advertisement"; it constructs a methodological matrix for the multi-level comparative analysis of job advertisement texts; it compiles a representative corpus of Chinese and British job advertisements and analyzes them using the developed methodology; it identifies the most frequent tactics and linguostylistic means used to create a positive employer image in each linguistic culture and determines the dominant patterns; and it interprets the identified differences within the framework of the cultural dimensions developed by G. Hofstede. The analysis is based on a corpus of 30 job advertisements (15 published in the UK and 15 in China in 2026) and employs a combination of research methods: componential and contextual analysis, discourse analysis, linguocultural analysis, the comparative method, and quantitative analysis. The study’s scientific novelty lies in its interdisciplinary comparative analysis – сonducted for the first time – of the English-Chinese language pair within a specific form of written recruitment discourse: job advertisements. The identified differences are interpreted through the lens of a linguocultural approach, which makes it possible to determine the dominant values within British and Chinese linguocultures that have become integral components of a positive employer image. The analysis reveals typical employer image models: "partner," "expert," and "missionary" in British recruitment discourse, and "institution," "leader," and "partner" in the Chinese context. The linguostylistic means employed to implement the tactics for creating these images – such as evaluative vocabulary, various forms of address, shifts in modality, and metaphors, as well as compositional techniques – vary depending on the cultural specifics of the texts in question, as well as the business ethics and corporate traditions of the UK and China.

Keywords: employer image, business discourse, British recruitment discourse, Chinese recruitment discourse, image-building strategy, job advertisements, linguostylistic means, business communication, cultural parameters, linguoculturological approach