The subject of this article is the diverse approaches of scholars to the study of V. Tokareva's creativity, ranging from stylistic peculiarities to sociocultural factors influencing the formation of an individual-author picture of the world. The article employs historical and comparative-typological approaches used to analyze articles and dissertation works. The research material consists of scientific articles and dissertations written in the 2010s and later. The practical significance of the research lies in the possibility of using its main provisions, materials, and aspects in the development of courses on the history of Russian criticism in the 21st century, as well as in scientific research dedicated to V. Tokareva's creativity. Contemporary women’s prose, particularly the works of Victoria Tokareva, has attracted heightened interest from literary critics and has received high praise. A key direction in researching her work has been the detailed development of themes related to family relationships, love, and personal happiness, presented from a feminine perspective. The analysis of the conceptual sphere allows for a deeper understanding of the author's reflections on the life experiences of modern women and their views on achieving personal happiness. Despite the absence of a clearly defined happy ending, female characters demonstrate a persistent desire to improve their lives, which reflects the writer's positive attitude and optimism. Critics also particularly highlight the original stylistic features of her stories, the unique authorial voice, and the ability to incorporate elements referencing classic works of domestic literature, especially those of A. P. Chekhov. The conducted literary analysis has provided a profound illumination of contemporary women's issues and the aesthetic principles of V. Tokareva's work, creating a solid foundation for further research and a comprehensive view of her creativity.

The object of research in this article is internet communication in the educational space, with the subjects being teachers and students. Both subjects are faced with the necessity to urgently solve various tasks: to request and receive certain information, to provide consultations on emerging educational and research problems, to notify about changes in the educational process, and so on. Based on the presumption of openness to each other, students and teachers engage in interpersonal communication, which contains the potential for misunderstanding or miscommunication, leading to communicative failures. The method of participant observation allowed the author to collect sufficient speech material – emails, messages in messengers and social networks – and identify some reasons for communicative failures in the electronic interaction between students and teachers. Communicative failures, as the inability of speech partners to achieve communicative and practical goals, have become the subject of study in this work. The author examines the specifics of electronic communication between students and teachers, which represents a business type of social interaction. Relying on the communicative-pragmatic method requires reflection on a number of circumstances of the communication situation: the status-role characteristics of speech partners, their communicative competence, national-cultural circumstances of communication, and so on. Analyzing electronic speech material allows us to assert that violating a number of principles of business communication – cooperation, consideration for the addressee, communicative-role parity, politeness, and others – provokes communicative failures. Students initiating electronic communication violate genre-stylistic, orthographic, and etiquette norms, which elicits a legitimate emotional-evaluative reaction from teachers. The article emphasizes the relevance of the didactic function of the teacher, who typically corrects the speech behavior of the student. The emotions of indignation, confusion, and irritation in some cases lead to a temporary breakdown in communicative contact.

The subject of this study is the phenomenon of linguistic simplification manifested in Chinese translations of short stories by A.P. Chekhov. The focus is on lexical and syntactic transformations occurring during interlingual transfer that lead to a reduction in lexical diversity, an increase in the proportion of high-frequency vocabulary, and the standardization of syntactic structures. The study relies on a specially created Russian-Chinese parallel corpus containing original texts by Chekhov and their translations by Ru Long and Xue Huan. Particular attention is given to the typological differences between Russian and Chinese languages that influence the ways of expressing spatial, grammatical, and semantic relationships. This research allows for a comprehensive characterization of the mechanisms of simplification as one of the key translation strategies and reveals the features of the formation of the translated language in the Chinese literary tradition. The study employed methods of automatic text processing (MyStem, HanLP), calculation of lexical density (STTR), construction of a parallel corpus of Chekhov's stories in Chinese, automatic segmentation and morphological annotation, as well as frequency analysis of high-frequency words and function and content parts of speech. The scientific novelty of the research lies in the creation of the first Russian-Chinese parallel corpus of A.P. Chekhov's stories, which has become the empirical basis for studying the phenomenon of simplification in translations. A multidimensional model of analysis of simplification has been developed for the first time, combining lexical density, frequency analysis, and syntactic transformations. The use of automatic tools (Python, MyStem, HanLP) allowed for the quantitative identification and confirmation of trends in simplification, expressed in the reduction of lexical diversity, increase in the proportion of high-frequency words, and simplification of syntax, for example, through the transformation of spatial structures. The research confirms that simplification is a characteristic strategy in A.P. Chekhov's translations into Chinese, which is determined by the typological and cultural features of the languages. The results obtained contribute to the development of the methodology of corpus studies and have practical significance for translation studies and linguodidactics.

The subject of the research is the translation of aerospace texts, which is a process of interlingual and intercultural exchange of specialized knowledge in Russian- and English-speaking professional environments. The object of the research is aerospace-themed texts in Russian and English that reflect institutional norms of information presentation, characteristics of the terminological system, and culturally conditioned ways of verbalizing scientific and technical meanings. Aspects such as terminological equivalence and stability of translation equivalents, the role of collocations and genre conventions (news, press release, popular science article), the normative nature of abbreviations, as well as the problem of numerical information in translation are considered. Special attention is given to the linguocultural markedness of metaphors and precedent elements, which perform explanatory and impactful functions in aerospace discourse but are variably acceptable and interpretable in Russian and English scientific and technical traditions. The research methods include a pre-translation analysis of the corpus of Russian-language publications from TASS and English-language materials from NASA, comparative qualitative analysis of vocabulary and discursive conventions, as well as frame modeling of terminology following M. E. Bukejeva's model (the systemic frame Aerospace Engineering and subframes Rocket Engineering/Rocket Launching/Space Exploration). The scientific novelty of the work lies in the comprehensive description of the translation difficulties in the aerospace field: through the connection of terminology, genre-discursive norms, and linguocultural factors, rather than solely through the selection of equivalents. It is shown that semantic shifts often occur in stable concepts and collocations, where professional norms are more critical than literal translation (zero gravity – "невесомость", deep space – "дальний космос", extravehicular activity (EVA) – "внекорабельная деятельность (ВКД)"). It has been established that significant risks arise from differences in systems of units of measurement and numerical notation: decimal comma/dot, thousands separators, formatting scales, and converting quantities to SI. The conclusion is made about the productivity of the frame model as a tool for pre-translation preparation and standardization: it helps to localize "risk zones" and justify the choice of equivalents considering genre and audience.

The article examines the nature of the comic in A.P. Chekhov's work and the use of ancient cultural images in the play "The Cherry Orchard." Special attention is paid to how the traditions of Italian commedia dell'arte (masked comedy) are reflected in Russian literature. The relevance of the work is tied to the need to view Chekhov's humor in a new light. Modern scholars often write about the writer's connection to popular theater; however, the way in which stage roles transform into living characters has been studied little. The theoretical foundation is based on M.M. Bakhtin's idea that the mask is associated not only with festive merriment but also with mockery. The focus of analysis is on the work of the archetype of the mask and its various manifestations (parody, caricature, grimaces). The author explores how elements of carnival culture become an important part of the artistic world of the play and create a complex system of relationships between the characters. The work employs comparative typological and structural text analysis. The methodology includes identifying traditional stage roles (Harlequin, Pierrot, Colombina) and investigating the principle of mirror reflection, whereby secondary characters are viewed as parodic doubles of the main characters, revealing the hidden motivations behind their behavior. The scientific novelty of the research lies in proving that the mask in "The Cherry Orchard" is not just an external comic device but a form of unconscious psychological defense for the characters. The article argues that the characters intuitively choose role-playing behaviors to hide from a traumatic reality: Ranevskaya plays the role of the "generous landowner," and Gayev plays the "aristocrat," trying to preserve the illusion of the old world. It concludes that through a system of mirror images (Yasha as a caricature of Harlequin, Yepikhodov as a shadow of Pierrot), Chekhov transforms the structure of commedia dell'arte. The servants, by parodying their masters, diminish the pathos of their experiences and lay bare the true motives of their characters. Thus, the external carnival-like quality of the play serves as a tool to reveal the deep internal conflict of a personality unable to accept the pragmatics of a new era.

The focus of this article is on the image of the author, the ways of expressing it in the genre of scientific and technical report through the metastructures used in it. The article is devoted to the analysis of the metastructures of modern English-language scientific and technical discourse based on the material of the genre of scientific and technical report from the point of view of the presence of the author's image in the discourse and the ways of its embodiment using metastructures. The purpose of the article is to consider all possible ways to convey the image of the author in the specified genre. The object of the article is metastructures in the genre of scientific and technical report. The subject of the study is metastructures as a means of expressing the author's image. The relevance of the article is due to the need to identify the specific features of metastructures, which allows to detect the identity of the author of the scientific and technical report. The research uses continuous sampling methods at the initial stage, the method of corpus-oriented discourse analysis to statistically confirm the conclusions reached, and the method of critical discourse analysis to describe examples. The scientific novelty of the study lies in the fact that for the first time it analyzes the genre of a scientific and technical report in order to establish ways to convey the author's image through the metastructures used in it using the AntConc corpus manager. Based on the results of the analysis, the ways of reflecting the image of the author are revealed (the personal pronoun “I” and the possessive pronoun “my”; the personal pronoun “we”; the constructions “it is worth”, “note that” and the adverb “please”), the conclusion is made about the frequency of these ways of conveying the image of the author in the studied discursive genre and about the reasons for this ratio. The research material is presented in a corpus of modern English-language scientific and technical reports. The theoretical significance of the research lies in the fact that for the theory of discourse, knowledge about the ways of linguistic manifestation of the author's image in the genre of scientific and technical reports, in particular, and in scientific and technical discourse in general, is expanding. The practical value of the article is determined by the possibility of using the research results in the preparation of scientific and technical reports to achieve an effective communicative goal.

The article discusses modern trends and key issues of media convergence in China in the context of the digital transformation of the media sphere. The relevance of the study is due to the transition of the national media industry to a stage of deepened convergence, where the formation of an omnichannel communication system becomes a strategic direction for development and an important factor in enhancing the effectiveness of public communication. In the context of the rapid expansion of new media and the complexity of the media landscape, there is an increasing need to assess how technological innovations, institutional frameworks, and content production models interact and shape the new architecture of the Chinese media ecosystem. A comprehensive analysis of the evolution of government policy on media convergence, structural features of the omnichannel system, and the mechanisms of its practical implementation has been conducted. Special attention is given to the concept of "four comprehensive media" and the transition to "fully intelligent media," reflecting the growing role of artificial intelligence and intelligent technologies in media production. The main barriers to the deep implementation of media convergence have been identified, including insufficient understanding of convergent processes among staff of traditional media and the mismatch of existing management mechanisms with the demands of the new media environment. It has been determined that the convergence of traditional media and new media contributes to improved communication efficiency, stimulates innovation in the industry, and creates conditions for the development of the cultural environment. The methodological basis of the research includes systemic and comparative analysis, the study of regulatory documents, and a critical review of scientific publications. The conclusion is drawn on the necessity of a systematic approach to the formation of the omnichannel communication system, suggesting the strengthening of specialist training, modernization of management mechanisms, and acceleration of organizational transformations. It is emphasized that the further promotion of the omnichannel model is a key condition for enhancing the national communication potential and forming a modern information ecosystem in China. Overall, the progress of the omnichannel communication system will contribute to the formation of an open, coordinated, and efficient information ecosystem that meets the current demands of the digital society. The development of such a system ensures not only the improvement of information flow quality and optimization of interaction between various media platforms but also creates conditions for more transparent, prompt, and scientifically grounded social management for modern Chinese society. In the long term, this becomes an important structural element of modernization development, strengthening the institutional mechanisms of communication, supporting innovation processes, and expanding the capabilities of the state and society in the field of managerial decision-making.

This article examines how Chinese culture is represented in leading Russian media from 2019 to 2025. The study focuses on discrepancies in cultural framing strategies found in media texts from three publications: Rossiyskaya Gazeta, Kommersant, and Komsomolskaya Pravda. The analysis shows that official and business media construct an institutionalized and modernized image of China, integrating cultural elements into narratives of diplomacy, global governance, economic cooperation, and technological development. Such framing positions China as a strategic partner and an influential global actor. In contrast, the entertainment press emphasizes festive, everyday, and partially exoticized cultural aspects, adapting representations to the preferences of mass audiences and highlighting visual appeal, traditional practices, and cultural routines. These differences illustrate the multilayered nature of Russian media discourse and demonstrate that China’s image is shaped by each outlet’s genre and target readership. Methodologically, the study employs a comprehensive approach combining corpus linguistic analysis, statistical procedures, and comparative discourse analysis of media texts. The research’s novelty lies in its integrative examination of how various segments of the Russian media sphere construct Chinese cultural imagery, blending elements of tradition, modernization, and diplomatic positioning. The findings reveal that official and business media prioritize institutional and globally oriented cultural narratives, while entertainment media foreground accessible, aesthetically engaging, and everyday cultural motifs. Chinese culture thus functions in Russian discourse both as an instrument of soft power for elite audiences and as a mass-market cultural product. The study’s practical significance consists in demonstrating the need to diversify cultural coverage in Russian media and to promote hybrid forms of cultural diplomacy that connect traditional heritage with contemporary cultural and political contexts.

The article highlights the importance of accurately representing the Russian Federation in the mass media of Mongolia. The subject of the study is the axiological approach in the publications of Mongolian media on Russian themes. The aim of this work is to examine the specifics of using axiological mechanisms in articles of Mongolian media about Russia. The area of application of the results: the practical significance lies in the fact that this work prepares a scientific basis for further research on axiological approaches in media texts, can be used in lectures and seminars with students, and utilized as materials for special courses. The theoretical significance is as follows: 1) this study allows for an expanded understanding of the axiological mechanisms used in the media; 2) this work contributes to the development of journalism theory. The method of conducting the work is comparative analysis concerning these publications. As a result of the study of texts from modern Mongolian media about Russia, it was revealed that they encompass axiological approaches such as postmodern sensitivity and openness. The scientific novelty of this article lies in the author’s development of the new concept of "axiology of personal positions" for empirical analysis. Overall, the content of Mongolian media dedicated to Russia reinforces a favorable image of our country in the perception of the readership, despite the presence of polarized viewpoints in the Mongolian media space. At the same time, this work points out that a media ritual, as well as the eidosphere and world of symbols – cultural codes – are integrated into the information messages of these mass communication mediums. The value ideals embodied in the articles of these publications reflect spiritual and moral guidelines such as humanism. Ultimately, such materials present the relevance of social interaction between representatives of the Russian and Mongolian peoples.

The article explores automatic interpretation based on artificial intelligence (AI) technologies, using the example of the Wordly platform. With the development of neural networks and AI technologies, automated interpretation systems are becoming more and more in demand, but their quality and effectiveness remain insufficiently studied. Due to the relative novelty of this technology, the scientific literature contains a limited number of fundamental studies devoted to assessing the quality of automatic interpretation, which determines the relevance of further analysis of such systems. As part of the research, an experiment was conducted aimed at analyzing the quality of translation provided by the Wordly platform. A fragment of an article from the newspaper Kommersant was used as the source material, which was voiced by the author and processed by an automatic interpretation system. The results were analyzed in detail in order to identify the features of the platform and evaluate the accuracy of the translation. The methodological basis of the research includes conducting a practical experiment, comparative analysis, as well as the use of observation and generalization methods. The scientific novelty of the research lies in the appeal to a little-studied area of translation theory and practice – automated interpretation systems. The results obtained can contribute to the further study and improvement of such technologies, as well as to the development of methods for their assessment and application in professional translation activities. An analysis of the results of the experiment conducted using the Wordly platform allows us to conclude that, despite the active development of artificial intelligence technologies and automatic interpretation, the quality of translation carried out by this system remains insufficiently high. Errors are observed at all stages of the multi-stage process, including speech recognition, audio signal conversion to text, and subsequent translation generation. In addition, a significant drawback was the high time delay between the perception of the original utterance and the reproduction of the translated text, which averaged 10 seconds. This indicator significantly exceeds the standard 2-3 seconds allowed in simultaneous interpretation, which reduces the effectiveness of using automatic interpretation in the professional field.