Fashion and the buzzword in scientific coverage (based on the material of Russian and Chinese)

I Liqun ORCID: 0009-0003-3921-3871 PhD in Philology postdoctoral researcher, Department of Russian language, Peking University 119234, China, Beijing, Yiheyuan str., 5, sq. 5 yiliqun@mail.ru Other publications by this author

The concept of fashion is closely connected with human civilization, which extends to all spheres of human life, including not only everyday judgments, but also scientific research. In the XX century, modern linguistics established the term linguistic fashion in its conceptual and metalanguage usage. The term linguistic fashion is often understood as "a specific form of manifestation of linguistic culture through linguistic habits and tastes, communicative values and trends prevailing in any society in a certain period of time" ^[1]. Since when choosing language units, there is always a preference for a personal native speaker and society. The mass frequency use of certain words and expressions in a certain period allows us to suggest that there is a certain fashion for words and expressions in a certain period of time. To date, many Russian scientists, such as V. G. Kostomarov (1999), I. T. Vepreva (2006), A. Mustayoki (2006), N. G. Zhuravleva (2010), M. M. Ripyakhova (2013), O. I. Severskaya (2014), have paid attention to the question of language fashion and the phenomenon of the fashionable word. O. A. Dmitrieva (2014), O. V. Vrublevskaya (2015), V. I. Novikov (2016), M. A. Krongauz (2017), etc., and many Chinese scientists, such as Zhou Yiming (1992), Xiong Zhongwu (1992), Guo Dahai (1999), Ruan Henghui (2003), Sao Weimin (2010), Zou Chunyan (2015), Bao Wuyun (2015), Fei Qiwei (2017), etc. As for the comparative study of buzzwords in Russian and Chinese, there are few works devoted to this topic: only articles by O. A. Vlasova (2014) and Chen Huan (2017). To this day, many issues on this topic have not only not been resolved, but have not even been raised.

The phenomenon of the buzzword, at first glance, is implied by itself. In recent decades, it has been widely used in various humanities disciplines: cultural studies, semiotics, sociology, linguistics, psychology, literary studies, lexicography, stylistics and teaching methods. But in fact, it is far from transparent, it has not been developed in its scope and possibilities of influencing various spheres of modern life. Fashionable words are associated with the linguistic taste of a particular era, with the social stratification of society and its values, with the language mentality and its national specifics. At the same time, our article is devoted to the scientific coverage of fashion and the buzzword in various humanitarian discourses. For analysis, a large number of examples from the National Corpus of the Russian language and the corpus of the modern Chinese language are given.  Starting from the concept of A. B. Hoffman, who identifies the core that makes up a set of fashionable values (modernity, universality, demonstrativeness and play) ^[2], we made an attempt to identify how the internal signs of a fashionable object are refracted in a word defined by ordinary linguistic consciousness as fashionable, to what extent the internal values proposed by A. B. Hoffman can be used to characterize buzzwords. The focus of this article is on the fashionable word, the task of defining the concept of a fashionable word in Russian and Chinese comes to the fore.

Philosophical views on fashion are a whole set of ideas and points of view. In "Anthropology from a pragmatic point of view" I. Kant identified the following characteristics of fashion: a) social inequality as the cause of fashion, b) social prestige, c) the dictate of fashion: it is very difficult not to obey fashion, since it is such a refusal that can characterize a person as "old-fashioned" or "eccentric" ^[3], d) negative impact on a person: fashion encourages human vanity, e) fashion is associated with with taste.

G. Hegel in "Aesthetics" also combines fashion and taste. Hegel understood taste as a sense of beauty, which appeared thanks to culture. In contrast to I. Kant, Hegel valued the sensual component in taste and pointed out its incompleteness and superficiality; nevertheless, Hegel believed that individual tastes of people, as well as social tastes, can be a criterion of the beautiful or ugly. According to G. Hegel, popularity and prestige are connected with taste. Prestige can be considered as the result of a comparative assessment of certain sociolects and the social significance of their carriers. "The highly appreciated phenomenon acts as a motivator and motivator of certain desires, feelings, intentions, actions, behavior of community members, causes a range of complex feelings in individuals, including the desire for social recognition, approval, encouragement, identification, accompanied by a sense of belonging to a real social group, collective, to occupy the appropriate position" ^[4]. Prestige is not equal to popularity. Popularity reflects the preferences of speakers and is closely related to the desire for entertainment, play, to use the terms of J. Huizinga and A. B. Hoffman.

Etymologically, "fashion" goes back to the Latin "modus" ("measure, image, method, rule, prescription"). Fashion means a preference for certain tastes in a certain environment, first of all it is tastes in clothes, then – in hairstyle, household items, preferences in food and entertainment, etc. The fashion phenomenon itself is directly related to clothing – without clothes, it simply would not have been developed and spread. Hegel dwells on the causes of clothing. The main reason is the desire of a person to protect himself from the negative effects of the environment, in the future, along with the awareness of the difference between an animal and a person, the latter feels a sense of shame and tries to cover the body with clothes, just as wool covers animals ^[5]. According to the French symbolist poet Sh. In the future, clothing gradually becomes a symbol of human civilization and indicates alienation from the natural coarse and base beginnings in man. Fashion can be seen as an attempt to get rid of these traits and approach the sublime created artificially with the help of clothes, jewelry, etc. ^[6].

According to G. Hegel, the craving to change one's own appearance is inherent in a person from early childhood. Fashion as a continuous process of change and transformation applies equally to the world of reality and the world of art. Hegel emphasized the usefulness and "reasonableness" of the category of fashion: in it the past appears as transitory ^[7].

The Russian religious philosopher P. A. Florensky in the Iconostasis defined a new dimension in the understanding of clothing. Clothing is an extension of the body: "... by a spiritual feat, the saints developed new tissues of the light-bearing organs in their bodies as the area of spiritual energies closest to the body, and in visual perception this expansion of the body is symbolized by clothing" ^[8]. According to P. A. Florensky, it is clothes that reflect the metaphysics of human existence ^[7].

French philosopher J. Baudrillard in his work "Symbolic exchange and Death" linked fashion with the concepts of time and death. Fashion signs do not have internal determinism and therefore can change endlessly. Fashion is a "reutilization of the past" that attracts people because it circulates forever, dying and rising again. J. Baudrillard wrote: "The pleasure of fashion is the enjoyment of a ghostly cyclical world of forms that have passed into the past, but are resurrected again and again in the form of effective signs"^[9] Fashion is cyclical – it "always uses the retro style, but always at the cost of canceling the past as such: forms die and resurrect as ghosts"^[9]. According to J. Baudrillard, fashion draws its lightness from death, and although fashion is thus opposed to eternity, it retains the chance of a second "life" beyond the threshold of death.

The Dutch philosopher and cultural critic J. Huizinga in the treatise "Homo ludens" ("The man playing") noted the playful nature of fashion: "... otherness and the mystery of the game together are visibly expressed in disguise. The "strangeness" of the game reaches its highest point here. A disguised or masked person "plays" another being. But he "is" this other being! Children's fear, unbridled fun, sacred rite and mystical imagination in an undivided mixture accompany everything that is a mask and disguise" ^[10]. This understanding is close to the understanding of fashion proposed by J. Baudrillard – fashion is both in the sphere of the rational and in the sphere of the irrational, because "even for an educated adult in a mask there is always something mysterious. The sight of a man in a mask takes us away... from the "everyday life" immediately surrounding us to a different world than the world of day and light. Into the sphere of savages, children and poets, into the sphere of play" ^[11].

The "Projective Philosophical Dictionary" (ed. by G. L. Tulchinsky and M. N. Epstein) contains a detailed idea of clothing as a shell or packaging, while the person himself is a "secret" being. We find the opinion that clothes are essentially a shell, a package for a person, while the person himself is the most "intimate" being. Human culture has adopted the idea of packaging from nature, because in nature all organisms are protected, hidden by "packaging" (fruits – peel, animals – thick hide or wool). Thus, a person seeks to protect himself by surrounding his own body – the primary shell – with many others: "The fact that the body itself acts as a vestment, allows him to continue dressing, sets the course of civilization as a set of coverings growing on the body of humanity" ^[12].

Summing up, we can say that the most important characteristics of the fashion category were highlighted in the philosophical discourse: its belonging to culture and civilization, its inseparable connection with the category of taste, the social nature of fashion, its inclusiveness and changeability. Fashion in clothing is saturated with deep and diverse meanings. Linguistic fashion is not the subject of special consideration in the philosophical tradition, but the characteristics of the fashion category are inherent in the fashion of language.

R. Barth put forward the idea of fashion as an iconic system of culture. Bart divided the semiotics and semiology of fashion. Fashion semiotics is a set of meanings, collective representations – myths and images. The semiology of fashion is its real embodiment, first of all, in clothes. R. Barth divides "clothes-image", "clothes-description" and "the real life of fashion". In the "clothing description", he identified three mandatory components: an object (a thing as a whole; for example, a sweater), a support (support for an object, a detail or accessory; for example, a sweater neckline) and a variant (the quality of the object, individual details; for example, a drawing on a sweater). Changing the options is the process of changing the fashion, and the variations of the caliper ultimately form the concept of elegance.

R. Barth showed the inseparability of fashion from language: "The real system of clothing is just a natural horizon where Fashion forms its meanings; as a whole, as an essence, Fashion does not exist outside the word. Therefore, it would be unwise to put the reality of clothing before the word of Fashion – on the contrary, a truly rational direction would be to go from the founding word to the reality it establishes" ^[12]. The "clothes-description" system is saturated with connotations and is located between a thing and a word, this system connects fashion with the outside world. But the main thing in fashion is not its real embodiment, but its deepest connection with the economy and the social structure of the state in a particular era. R. Barth gives an economic interpretation of the transience of fashion: "A prudent industrial society is forced to educate unaccountable consumers; if manufacturers and buyers of clothing were equally conscious, then clothes would be bought (and produced) Fashion in clothing, like all fashions, is based on the inequality of two consciousnesses – one of them must be alien to the other. In order to confuse the calculating consciousness of the buyer, it is necessary to cover the thing with a network of images, excuses, meanings, to clothe it with some kind of subsequent, appetite-inducing substance, in a word, to create a semblance of a real thing, replacing the heavy time of wear with another, higher time, which freely and imperiously destroys itself in the act of annual potlatch. So, the commercial roots of our collective imaginary (subordinate to fashion in everything – not only in clothes) cannot be a secret to anyone" ^[12].

Hence the central role of clothing-description, the ideologized language of fashion. The biased language of fashion is saturated with cultural, social, ethical connotations, it is constantly replicated in the media. Between the products offered and the products needed by a person is the area of symbolic consumption, which functions as a system of signs, turning objects into symbols, and symbols into goods. "... the Fashion sign is placed, as it were, at the intersection of an individual (or oligarchic) plan and a collective image, it is both imposed and in demand… Fashion is changing, not developing, its lexicon is being compiled anew every year, as if in a language that would keep one system all the time, but abruptly and regularly changed the "small coin" of its words" ^[12]. To describe fashion is to describe its language.

So, in semiotics, fashion was defined as one of the iconic systems put at the service of the economy and social stratification of society. The language of fashion is a powerful means of manipulating and influencing human consciousness.

A. B. Hoffman in the monograph "Fashion and people. The New Theory of Fashion and Fashionable Behavior" defined fashion as "one of the mechanisms of social regulation and self-regulation of human behavior" ^[2]. Indeed, being an important cultural phenomenon, fashion extends to almost all areas of human activity – from the household sphere (choice of clothes, hairstyles, accessories, cosmetics, perfume, interior design, etc.) to the mental sphere (music and book preferences, movie selection, lifestyle and thoughts, evaluation criteria, behavior model, etc.). self-identification). The Large Explanatory Dictionary of the Russian language offers the following interpretation of the word "fashion": "Fashion, -s, zh. [French mode – fashion; manner, mode of action] – 1. The totality of tastes and views prevailing in society at a certain (usually short) time and manifested in hobbies of something., forms of life, clothing, etc. m. on high heels. Go out of fashion. Get into fashion. To be in fashion (to enjoy special popularity, recognition at some time. time). The latest cry of fashion (about something that has just become very popular). Someone or something is out of fashion (has lost its appeal, does not meet modern tastes). 2. mn.: mods, mods. Samples of clothing items that meet the prevailing tastes of the moment. The fashions of the season. Women's fashion. Fashion magazine. Fashion house (atelier of the highest category for individual tailoring and sale of fashionable clothes). 3. razg. Habit, habit. I took the fashion to sing songs every day. What kind of M. is smoking?" ^[13]. In this dictionary, the phraseology "high fashion" is also noted, meaning "fashionable products of the best fashion designers, made by hand in a single copy" ^[13]. Stable combinations are recorded in the "Small Academic Dictionary" compiled by D. E. Rosenthal and M. A. Telenkova: "the latest cry of fashion" for talking about fashion novelties, "to take fashion" (accompanied by the mark "simple" and means "to learn a habit"), "to be in fashion" – "to enjoy special popularity, universal recognition at some point" ^[14]. The dictionaries do not note that the language belongs to the sphere of fashion manifestation, as well as there is no stable phrase "fashionable word". Meanwhile, fashion is one of the most important manifestations of the social aspect of language. Since the second half of the twentieth century, linguistics has been actively studying speech fashion and the phenomenon of the fashionable word in the Russian language at the present stage of its development.

In V.G. Kostomarov's monographs devoted to the "linguistic taste of the epoch", speech fashion in the Russian discourse of the 80-90s of the twentieth century is analyzed ^[15]. V. G. Kostomarov puts speech fashion in connection with the diverse changes in society and culture of this period. V. G. Kostomarov wrote: "Changing ideas about the correct and effective use of language, sometimes brought to the point of absurdity, can be designated by the word "fashion". Fashion is an extreme manifestation of taste, more individual, quickly passing, striking and usually irritating to the older and conservative part of society. Speech fashion, apparently, is more directly related to fashion in other areas of life" ^[15]. M. A. Krongauz also writes about the perception of fashion by society: "Fashion causes both attraction and irritation at the same time. Someone does not like such words, someone loves and uses them to the place and out of place, and someone does not like, but still uses them because it is fashionable" ^[16].

Dictionaries of fashionable words prepared by V. I. Novikov ^[17] were a serious step in the scientific study of fashionable words of the Russian language. In the preface to the Dictionary of Fashionable Words, V. I. Novikov defines a fashionable word as "a new philological term, which is not a dry abstraction, but a linguistic and vital reality… A fashionable word is a word with claims, it often sounds in oral speech, flashes in the press, and now and then comes from a radio or TV" ^[17]. V. Novikov refuses to try to find objective criteria for highlighting fashionable and relies on subjective opinions: "The book includes words and expressions that did not leave the author indifferent. Words with an interesting fate. Words that touch a nerve, disposing to a dispute both about language and about actual moral and social problems. The author sought to work "conciliatedly", asking colleagues and acquaintances, people of different generations and professions about what words they consider fashionable, what new words they like or cause irritation" ^[17]. The explication of these subjective opinions can serve as signs of the prevalence of buzzwords, perhaps social prestige, as well as an emotional and evaluative like/dislike reaction.

The first edition of V.I. Novikov's Dictionary contains more than a hundred fashionable words. The dictionary includes words that have acquired a new meaning and have become fashionable in this meaning; borrowings, scientific, technical and political terms, slang words; words used in everyday language, in Internet communication, in the media ("loser", "meme", "nyashka", "privacy", "selfie", "fake"). Dictionary entries contain information about the origin of the word, about the peculiarities of use and pronunciation. The dictionary does not distinguish fashionable words by their belonging to a certain time interval, that is, determining when a word becomes fashionable, how long it remains fashionable and when it goes out of fashion. In general , the dictionaries of V. And Novikov can be considered as a representative source for the study of fashionable words of the XX – XXI centuries.

The relevance of the topic of fashionable words in modern Russian studies is evidenced by the International Conference "Fashion in Language and Communication" held in November 2011 at the Institute of Linguistics of the Russian State University and the subsequent collection of conference materials ^[18]. The titles of the articles in the collection demonstrate the variety of problems associated with the buzzword: "Norm and fashion" by V. M. Alpatov, "Network Russian: Fashion for Comments" by T. V. Bazzhina, "Fashion in phraseology" by A. N. Baranov and D. O. Dobrovolsky, "From "by" to "from": About strange fashion for prepositions" by E. N. Basovskaya, "Fashion and usage: Modeling the influence of society on speech" by E. G. Borisov, "The language of youth parties: Tastes and trends" by E. Byalek, "Words that are called unfashionable" by L. V. Zubov, "Lexical features of TV chats (on the example of Bridge in Time)" O. L. Maksimenko, "Is the "managerial discourse" fashionable in Russian communication?" by R. Rotmayer, "Fashion for Freedom: Natural written speech" by L. L. Fedorova, "Sweets for slim girls: actualization of the word-formation model or its new "style"?" O. I. Severskaya. Special polls and ratings ("Word of the Week") speak about public interest in fashionable words, fashionable words are discussed in radio broadcasts ("We speak Russian" at the Echo of Moscow station), in Internet forums ("Gift of the Word" by M. N. Epstein).

Theoretical and practical aspects can be distinguished in the study of buzzwords. The practical aspect is the identification of modern buzzwords and their linguistic description, the theoretical aspect is the differential characteristics of buzzwords, patterns of existence and functions of buzzwords. These questions are raised in the works of I. T. Vepreva, N. G. Zhuravleva, M. M. Ripyakhova, O. A. Dmitrieva, M. A. Krongauza, V. I. Novikov, O. V. Vrublevskaya and other researchers.

A. B. Hoffman identified the "attributive values of fashion": modernity, universality, play, demonstrativeness ^[2]. Transferring sociological models to the linguistic sphere, I. T. Vepreva and A. S. Mustayoki show how the signs of a fashionable object are refracted in a word that the linguistic consciousness defines as fashionable ^[19]. O. V. Vrubelskaya also relies on the characteristics of the fashionable object, highlighted by A. B. Hoffman, and considers it possible to transfer them to the linguistic sphere. Moreover, O. V. Vrubelskaya points out that "in addition to external non-linguistic factors, psychological aspects are also at the heart of the word's fashion, the desire to demonstrate one's Self through fashionable language forms, which allows stylistically marked words, words with a bright plan of expression and expanded compatibility or generalized semantics to pass into the category of fashionable. The latter explains the playful beginning of such fashionable words (arbitrary playing of the inner form of the word, metaphorization, etc.), which is already determined by linguistic reasons" ^[20].

In a number of works, the buzzword is considered in a dynamic aspect. According to O. I. Severskaya, "the phenomenon of the fashionable word is usually studied in the context of the history of literary language and sociolinguistics and is traditionally correlated with lexical processes caused by the close connection of language and society" ^[21]. It can be noted that the context of the history of the literary language is not yet in demand in the research of fashionable words at all. In the work of I. T. Vepreva "Language reflection in the post-Soviet era", five stages of the life of a word in a language are highlighted: 1) the first entry of a word into the language and familiarity with it, 2) the stage of increasing the interest of native speakers in the emerging unit, 3) the period of active dissemination of the lexeme in the language, 4) stabilization of the word in the language and loss of exclusivity, 5) disappearance due to replacement by another word or renewal of the word due to social needs ^[22]. This scheme can be applied in the study of buzzwords that have a certain life cycle. Based on the views of I. T. Vepreva, N.G. Zhuravleva in her dissertation research "The phenomenon of the fashionable word: the linguopragmatic aspect (based on the material of the modern Russian language)" examines the fashionable word within the framework of an anthropocentric approach that takes into account the emotions, feelings and preferences of the speaker ^[23].

In a number of works, the question of the functions of language fashion and fashionable words is raised. O. A. Dmitrieva sees in language fashion a kind of regulative: "a prerequisite for the existence of language fashion is a triad: novelty, frequency, status; as soon as there is frequent quoting of a fashionable language unit, it loses its sharpness and originality, is reduced to a cliche" [24M. M. Ryapikhova identifies the following functions of language fashion: innovative, regulatory, psychological, social, prestigious, communicative, economic, aesthetic [25]. Language fashion embodies the linguistic tastes and communicative values peculiar to society in a certain period of time, "language fashion is directly related to mentality and is a significant aspect in the study and description of any linguistic culture" ^[25].

The universal and idioethnic in linguistic phenomena clearly appear when compared. Of great interest is the consideration of fashionable words of the Russian language against the background of Chinese. In China, the topic of buzzwords is the subject of many linguistic studies ^{[26,27,28,29]}. The following characteristics of buzzwords are considered:

a) relevance, understood as correlation with significant events in politics, economics, culture. On this basis, the concept of a fashionable word approaches the concept of a keyword introduced by T. V. Shmeleva: "A word correlated with its time, becoming especially important, relevant due to its semantics, has received the status of an actual word in linguistics, a "keyword of the current moment" ^[30]. The emphasis on changes in socio-political life as the main content of the buzzword is clearly reflected in the works devoted to Chinese buzzwords of the 50-80s of the twentieth century. In the article "Catchwords as markers of change in China," Ho Zinsen identifies the following buzzwords for this period: (m?o zh?x?) – "Chairman Mao" (1949); (zh?nggu? r?nd?) – "the all-China Assembly of people's Representatives" (1954); (r?nm?ng?ngsh?) – the "people's commune" (1958); (xi?ng t?ng l?if?ng zh?xu?x?) – "learn from lei Feng" (1960); (w?ng?), a reduction from (w?nhu? d?g?m?ng) – "Cultural revolution";(s?r?nb?ng) – the Gang of four (1976); (sh?nhu? g?ig?) – "deepening reforms" (1979); (h?oji?) – "the great disaster" (the phenomenon of the early 1980s) ^[31]. The actual ones are the history of the socio-political life of China, fixed in the vocabulary, which can equally be attributed to both key and fashionable words.

However, fashion words are not only "the key words of the era". "When researching "fashionable" words, it is necessary to take into account social changes and cultural trends" ^[26]. Fashionable words are markers of new phenomena and new concepts related to technical and cultural innovations, to everyday life in its diverse manifestations (food, clothing, home and its interior, transport, etc.). Words with evaluative and emotional meaning, words of greeting and farewell, consent and disagreement, cf. Anglicisms in in Chinese: ?(k? from "cool") – "cool", (b?ib?i from "bye-bye") – "bye" ^[28];

b) the life cycle of a buzzword is closely connected with attachment to the current moment. The duration of the existence of buzzwords related to the political structure of the state depends on how durable this political structure itself is. This is evidenced by the above keywords of the PRC of the period of the 50-80's. In the future, such vocabulary mainly passes into the category of historicisms. Many thematic groups of buzzwords are characterized by "short duration" and rapid turnover, as many Chinese linguists write about. For example, the well known native Chinese language, the word ?(h?o) – "good" was replaced in fashionable ?(bang) – "cool", which is then replaced by ?(shu?i) – "cool," then ?(g?i) – "cool" and subsequently on (d?ngj?) – "super" ^[26]. Being at the peak of popularity, the buzzword in a short period of time spreads to the entire social space and begins to be used everywhere, becomes really massive; the creators of fashion and at the same time its perceivers are social classes and strata, professional groups, etc. ^[2]. This feature of the fashionable word is also noted by Chinese linguists. However, fashionable words quickly lose their relevance, many of them disappear from the language without a trace, while others remain as a kind of "time counters";

c) fashionable words can be divided into those that have become widespread, and those that remain popular only within a special group ^[29]. The latter may also refer to the vocabulary of limited use: dialectisms, professionalism, jargon. Jing Song, Yu Jing and Wu Fei highlight the corporate character of buzzwords, noting the fact that "a native speaker can consciously limit the scope of use of such units depending on the specific situation, social group and speech style " ^[26].

Some buzzwords have a regional characterization. Such words have a special expression and stylistic marking. "The popularity of a buzzword is due to its originality and communicative significance" ^[31]. This property of buzzwords is called demonstrativeness (A.B. Hoffman's term). In Chinese, demonstrativeness is clearly manifested in borrowings, primarily Anglicisms. However, there is a contradiction here. In the Chinese cultural tradition, borrowings are generally evaluated negatively. At the same time, fashionable borrowed words have the properties of novelty, prestige and special attractiveness for the speaker. Such ambivalence, according to Jing Song, reflects the psychology of the Chinese nation and is a sign of internal xenophobia ^[26]. Liu Zequan and Zhang Dandan note that, linguistically, this contradiction is solved as follows: "... in addition to novelty, a fashionable word should have beauty and sophistication, as well as aesthetic value ^[32].

The presented review shows that Russian and Chinese fashion words have common characteristics. These include attachment to a specific time (relevance), widespread (mass), prestige, short-term life cycle, novelty and expression (demonstrativeness and playful nature). At the same time, the ideas about fashion and the buzzword in the Russian and Chinese language consciousness do not completely coincide with each other. This is evidenced by the psycholinguistic experiment conducted by L. T. Yagofarova and S. Y. Glushkova ^[33]. During the experiment, the subjects (native speakers of Russian and Chinese) were asked to list the words that they associate with the word "fashion" - (sh?sh?ng). Based on the experiment, it can be argued that the Russian combination of "fashionable word" corresponds to not one, but two units in the Chinese language: ?((sh?sh?ngc?) and (l?ux?ngy?). The Chinese (sh?sh?ngc?) ("fashion", "fashionable") consists of the hieroglyphs (sh?) - –time", "season" (i.e. "existing in a certain time) and ?(sh?ng) – "still", "still", "still", correlated with taste and prestige. Most often, this definition is combined with words denoting the appearance of a person, his clothes, his behavior and lifestyle. The Chinese (l?ux?ngde) ("fashionable, popular") consists of the hieroglyphs ?(l?u) – "flow", "wave", "spread (quantitatively and geographically)" and ? (x?ng) – "move", "on the move", "pass (about time)". This definition is combined with words denoting color, style, clothing, outfit, jewelry, song or other cultural artifacts. The semantic difference obviously consists in the fact that in the second of the Chinese words there is a semantic component "aesthetic attractiveness of the object". This corresponds to the conclusion of L. T. Yagofarova and S. Y. Glushkova: "in the process of verbalization of the concept of fashion in the Russian language environment, the emphasis is on emotional perception, whereas in the Chinese – on aesthetic" ^[33]. The data obtained when referring to the National Corpus of the Chinese Language (KSKYA) are indicative: the search for the word ?(sh?sh?ngc?) produced 2 documents and 2 occurrences, the search for the word (l?ux?ngy?) – 500 documents and more than 500 occurrences ^[33]. Thus, it can be assumed that the idea of a fashionable word in the linguistic consciousness of Chinese speakers is embodied in the Chinese word (l?ux?ngde).

M. A. Krongauz writes that "after perestroika, we experienced at least three verbal waves: gangster, professional and glamorous, but in reality we lived through three most important periods of the same name, three, if you like, fashions that our native language allows us to see. You can philosophize endlessly about these periods, you can make films or write novels, or you can just say those very words, and a whole epoch will arise behind them. This is also a philosophy, but a philosophy of language. It's stupid to talk about its clogging, it's stupid to blame the language at all, if this is our life. And we must be more tolerant and remember that words are reflections" ^[16]. We note similar waves in the history of the Chinese language, since the abundance of jargonisms, terminalizations and borrowings is included in the use of fashionable words, is included in the very living speech of our life. The activation of buzzwords in recent decades has led to the appearance of a large number of neoplasms that arise in speech and are recorded in the language as fragments of the national cultural memory of modern countries. It can be said that in the era of active economic, political and cultural globalization, modern derivational processes are influenced primarily by the "Westernization" and liberalization of society in the first decades of the XXI century. "Colloquialisms, jargonisms, and other non-literary means of expression, gaining access to a wide educated everyday life, open the gates to a general irresponsible sloppiness that generates erroneous or vulgar word usage, in which words appear in uncharacteristic meanings and in such combinations that jar the ear and offend common sense, which is already associated with the impoverishment of logical concepts. And today we can observe numerous costs of, so to speak, reckless democratization, excessive tolerance" ^[15]. "In an effort to show their breadth and scholarship, or rather their familiarity with the American-Western world, journalists often create a bizarre mixture of foreign words, rude vernacular and jargon" ^[15].

Nowadays, fashionable words cause a lot of problems, including especially the problem of lexicography. Almost every year, the rich vocabulary of the Russian language is replenished with new units. All this leads to the complication, to the expansion of the world of dictionary and reference literature, which is a very effective means by which we know the world, that is, dictionary and reference literature helps us to understand and systematize the components that make up the reality around us. Experts in the field of lexicography note the rapid growth in the number of dictionaries of all possible genres and directions, glossaries, encyclopedias and other reference materials. Most dictionary compilers focus on lexicography based on samples. Thus, dictionaries of known types are created on the basis of new, fresh language material using well-known and proven techniques. The existing set of traditional methods of lexicography has remained unchanged, although science is gaining more and more development (especially at the end of the twentieth century). "Meanwhile, the reserves for expanding the types of dictionaries are far from exhausted" ^[34]. This leads us to the idea that lexicographers should leave their traditional methods and ways of determining the genres of dictionaries, which scientists have done. A large amount of fresh language material has given impetus to the development of new types of dictionary and reference literature and, consequently, to a new approach in the systematization of existing language material.

In 2001, an article by V. D. Devkin was published in the journal "Questions of Linguistics", in which he highlights the topic of "unborn" dictionaries, drawing attention to the need to create the following dictionaries: a dictionary of addresses, a dictionary of etiquette phrases, a dictionary of honoratives (expressions of politeness), a dictionary of humilatives (expressions of rudeness), a dictionary of metacommunicative expressions, a dictionary stimuli and reactions, a dictionary of manipulative speech tactics and many other types of dictionaries covering various aspects of human life. And, what is important for our work, V. D. Devkin also makes a remark about the relevance of creating a dictionary of "fashionable" words, also expressing concern that "with the slow production of dictionaries, there is a fear that it will come out when its material is already outdated to some extent" ^[35].

Russian Russian Dictionary Four years after the publication of the article "On the Unborn German and Russian Dictionaries" by V. D. Devkin, the first Dictionary of Fashionable words in the history of the Russian language (hereinafter SMS) was published, the author of which is a well-known writer, professor of the Faculty of Journalism of Moscow State University, V. I. Novikov. The dictionary contains 70 dictionary entries arranged in alphabetical order. First of all, it is worth paying attention to the fact that the compiler of the dictionary does not resort to the principle generally accepted in lexicography of the fullest possible unification of the presentation of vocabulary material. Dictionary entries are essays devoted to a particular word, written in a journalistic style. The content of the work illustrated by any life situations, however, does not give the reader an exhaustive and comprehensive picture of the described phenomenon. According to the composition of the vocabulary, the analyzed dictionary is heterogeneous. More than half of the dictionary are slang or colloquial words and whole expressions, in the minority, but still roughly colloquial units are represented; such dictionary content, in our opinion, accurately reflects the general trend: the category of "fashionable" words is inseparable from such phenomena as general jargon and colloquialism. We also find articles in the dictionary for words of foreign origin (mainly English-American). Paying attention to the annotation to the dictionary: "The New Dictionary of Fashionable Words" is a collection of lively, witty stories about the most prestigious and controversial words of the Russian language of the beginning of the XXI century" ^[17], we can conclude that this work was not initially aimed at a specific, scientific interpretation of its constituent linguistic units — analyzing the language material, V. I. Ivanovich combined traditions of the description of the words of the explanatory dictionary with the traditions of linguistic and cultural explanation.

When considering the problems of lexicography of fashionable words, the following aspect should be mentioned: a significant role in the creation of SMS is played by reflection, reflection in the mind of a native speaker of a "fashionable" word. For a scientist whose goal is to work with language fashion, and then create a dictionary using the components of this fashion, it is important to take into account two conditionally distinguished types of author's reflections of words: reflections of native speakers and reflections of researchers of this phenomenon. First of all, both groups of author's reflections act as an auxiliary means for obtaining information about the properties and signs of "fashionable" words by the compiler of the dictionary: the ability to join the synonymic, antonymic series, the presence of evaluation, features of semantics, grammatical characteristics, and more. Another advantage of using author's reflections is that reflections can also act as a background on which the conclusions of the researcher himself will emerge, because a fashionable word, immersed in speech that directly reflects the consciousness of a native speaker, will most clearly manifest its properties and characteristic features.

A possible sense of subjectivity in defining words as fashionable can be overcome "due to the frequency factor: frequency reflexives obviously reflect the real parameters of a lexical unit in society at certain periods. Metalanguage utterances verbalize language consciousness and allow you to outline the circle of "fashionable" words" ^[23].

It should also be noted that V. I. Novikov, when preparing dictionary entries, takes into account the fact that a fashionable word is a dynamic category. Its semantics and pragmatics often turn out to be extremely broad, and it can be stated that it is in our days that these properties of the "fashionable" word are only being formed. At the same time with this formation there is also a grammatical restructuring of the word.

An example of the traditional design of dictionary entries explaining the semantics of fashionable words can be served by the work of T. G. Nikitina "So says the youth" (hereinafter referred to as TGM), published in 1998. This dictionary contains units of youth slang, it is worth remembering that one of the directions of language fashion is the use of slang words.

The problem of lexicography of fashionable words in modern Chinese is more complicated, since Chinese is the language of the analytical system. The word has a rather vague status, complex and ambiguous relationships with syllables and morphemes. Chinese is a typical representative of syllabic languages, where the syllable has a strictly fixed structure and in most cases is endowed with a certain meaning. The main feature of the dismemberment of Chinese words is that their components can exist in a sentence both together and separately. As a result, it is difficult to solve the problem of lexicography of Chinese buzzwords. In order to normalize the modern literary Chinese language, fashionable words in China receive their status after the acceptance of the "Dictionary of Modern Chinese", which is the standard norm of the modern Chinese language with the characteristics of normativity, scientific and practical.

At the same time, fashion words actively perform their powerful functions. According to M. M. Ripyakhova, the main functions of language fashion are determined by the following: (1) innovative (language fashion stimulates the experimental beginning in society and culture, the search for new, reveals new, more preferred speech patterns compared to previous ones); (2) regulatory (language fashion introduces new forms of communicative behavior into the lifestyle, selecting one from a variety of speech models that becomes the norm for a while, facilitating a person's choice of language means and thereby helping to adapt to a changing world); (3) psychological (linguistic fashion satisfies a person's psychological needs for novelty, creating the illusion of change, in self-expression, compensates for dissatisfaction with their social status, levels social inequality and avoids social isolation. Language fashion is the most effective way of emotional discharge, being an element of the mechanism of protection against psychological overload, offering ready-made samples of communicative behavior of a person on a massive scale); (4) social (linguistic fashion introduces a person to the social and cultural heritage, helps the perception of certain social norms and values and promotes the reproduction of a certain social system); (5) prestigious (language fashion denotes social status, demonstrating either a high social status, or creating the illusion of a higher social status, or vice versa hiding social differences between communication participants.); (6) communicative (language fashion is one of the characteristics of mass communication); (7) economic (language fashion is a form of advertising new products, a regulator of consumer behavior and, as a consequence, a means of expanding sales); (8) aesthetic (linguistic fashion satisfies aesthetic needs, reflecting the peculiarities of mass linguistic taste, is a way of spreading and changing aesthetic assessments in society) ^[1].

Fashion is one of the most important universal concepts, and is in the orbit of attention of a number of humanitarian disciplines. The tasks of modern linguistics include a lot of new things that were not previously accepted into the circle of linguistic attention at all. In particular, an urgent task in modern Russian studies is the study of the category of "fashionable" words, especially its comparative study in Russian and Chinese.

This article describes the fashion, the connectedness contained in philosophical and linguistic studies, including I. Kant, Hegel, S. Baudelaire, P. Florensky, R. Barth, J. Baudrillard, J. Huizinga, G. Tulginsky, M. Epstein and A. Hoffman. The problem of linguistic fashion is actively studied at the turn of the XX-XXI centuries in domestic and foreign linguistics. B.G. Kostomarov introduced the concept of "linguistic taste of the epoch" into scientific use. At the same time, the study of "fashionable" words began. Russian Russian and Chinese speakers' perception of the fashion concept experiment results show that Russians have a predominance of emotional perception of the fashion concept, while Chinese have a priority of aesthetic. The analysis of the component Chinese expressions ?((sh?sh?ngc?) and (l?ux?ngy?) led to the conclusion that the second expression is considered more accurate than the first, defining the term as a buzzword, for the reason that in a certain period of time it received an unusually wide distribution and popularity among all native speakers, and not among a certain society of "designers". The opinion of Russian and Chinese linguists is indisputable that the main differential features of a "fashionable" word are frequency (mass character, universality), modernity and popularity (demonstrativeness and characteristics of the game). At the same time, Russian linguists emphasize the novelty of the buzzword, while Chinese linguists emphasize the short duration and territorial limitations (corporatism).

Fashionable language units are actual words of the modern era, a kind of lexical innovation. However, fashionable words are presented at different stages of the historical existence of the language, as evidenced, for example, by numerous examples in the monograph of Academician V.V. Vinogradov "Essays on the history of the Russian literary language of the XVII–XIX centuries" (1982). However, at the same time, it should be recognized that the phenomenon of the buzzword has not received a convincing explanation to date, and the combination "buzzword" can hardly claim the status of a linguistic term.

In order to identify the criteria and features of the buzzword, this article analyzes the similarities and differences between the concepts of "fashion" and "buzzword". At the same time, it is found that the characteristics of the functioning of the buzzword do not completely coincide with the significance of fashion. High-frequency linguistic units with an element of novelty have features that are part of the core values of fashion. For example, a fashionable word has such fundamental features of a fashionable object as prevalence and modernity. If we are talking about its special properties of the functioning of the buzzword, then we can note the transcendence in time, spontaneity of distribution, connection with dialects, differences in cycles of existence and other signs.

A fashionable word is determined based on its use and social significance. The fashionable word inherits the signs inherent in fashion as a semiotic phenomenon, subjecting these signs to further differentiation. The buzzword is demonstrative and expressive. A fashionable word uses expressive means of language and creates new ones. The demonstrativeness of a fashionable word embodies the linguistic taste and aesthetic preferences of native speakers in a specific time period. The national specificity of fashionable words is manifested when they are compared in Russian and in Chinese. The buzzword of multifunctional. A specific function of a buzzword is its attachment to a certain time. The buzzword testifies to socially significant events and is addressed to the world and to the language. The versatility of a buzzword can be likened to a folding fan, the "head" of which is a function specific to the buzzword, attachment to a specific time.